While some purists would like to compartmentalize boogie woogie into a nice, neat box as strictly a form of piano blues, this 18 track collection clearly demonstrates that the form lends itself to a wide variety of treatments. Tracks like "Baby Boogie Woogie" by country picker Curley Weaver, "Boogie Woogie" by Delta Cum. Detroit bluesman Calvin Frazier and jazz visionary Art Tatum's "Tatum Pole Boogie" do much to support that claim, as does the inclusion of tracks from Red Saunders, Adrian Rollini and Harry James. Much of the material reprised here comes from one of the very first Columbia 78 RPM 'albums, ' a collection of boogie woogie classics produced by John Hammond, the man who brought the music into national vogue in the late 30s by simply letting giants like Albert Ammons, Meade Lux Lewis, Pete Johnson and Big Joe Turner do their thing…

Broke, Black & Blue delivers multiple surprises within its 100 songs of prewar blues. Arranged chronologically by Joop Visser, the set admirably covers the first 22 years of recorded blues, 1924 to 1946, from vaudeville and Delta to boogie-woogie and jump blues. It's a swell gift for anyone wanting to learn more about the history of blues. But old-timers will be pleased, too, as special attention has been paid to culling rare and idiosyncratic tracks by the well-known and the obscure. The first three discs present single tracks by artists as diverse as the Memphis Jug Band, De Ford Bailey, Tommy Johnson, Son House, Skip James, Peetie Wheatstraw, Lonnie Johnson, and Bukka White, alongside unknowns such as Isaiah "The Mississippi Moaner" Nelson, Barbecue Bob and Laughing Charley, Ed Andrews, Chicken Wilson, and Bumble Bee Slim. On the fourth disc, this convention is jettisoned to luxuriate in a series of very rare sides of lovely, oddly subdued boogie-woogie and jump blues by Jimmie Gordon, Johnny Temple, and Lee Brown.

Before Gate was able to rebuild a following stateside, he frequently toured Europe. He recorded the contents of this inexorably swinging set in France in 1973 with all-star backing by keyboardists Milt Buckner and Jay McShann, saxists Arnett Cobb and Hal Singer, among others. Brown indulges his passion for Louis Jordan by ripping through "Ain't That Just like a Woman" and "Ain't Nobody Here but Us Chickens" and exhibits his immaculate fretwork on the torrid title item.

One of the seminal boogie-woogie pianists, Yancey was active in and around Chicago playing house parties and clubs from 1915, yet he remained unrecorded until May 1939, when he recorded "The Fives" and "Jimmy's Stuff" for a small label. Soon after, he became the first boogie-woogie pianist to record an album of solos, for Victor. By then, Yancey's work around Chicago had already influenced such younger and better-known pianists as Meade "Lux" Lewis, Pinetop Smith, and Albert Ammons.

You know it's about time somebody took all the little records that Big Joe Turner managed to make back in the day and brought them out in sequence the way they appear in the Classics Chronological Series. Nobody in the world ever sounded quite like Joe Turner and nobody ever will. There is a magical quality that makes his blues performances feel like rituals full of clarity and grace. Each and every Joe Turner record is as beautiful as a massive stand of tiger lilies growing up through the middle of a brickyard, silent, solid, and dignified under the dew in the first light of dawn. Incredibly, despite his enormous popularity during the Second World War, by 1949 this gifted vocalist was scuffling to get recording gigs. Ten tasty sides were cut in Los Angeles for the MGM label with a solid band fairly bursting with hot horns and driven by Pete Johnson's piano. Joe Turner closed out the year by waxing two sides for Rouge Records in Baton Rouge, LA, and four for the Freedom label in Houston, TX. In April of 1950, Joe Turner made a fistful of records in New Orleans backed by Dave Bartholomew & His Orchestra with Fats Domino at the piano.

In what would become Fats Domino’s final public performance, he with his 9-piece band demonstrating why he is considered one of the pioneers of Rock and Roll. This previously unreleased album - Live at Tipitina’s - was multi tracked recorded and professionally mixed so you can feel like you were right there in the middle of it all.

Those looking for blues, R&B, rootsy rock & roll, gospel-tinged ballads, loungy supper club jazz, and boogie-woogie piano pounding all led by an instantly recognizable powerhouse voice infused with gritty soul will rejoice with Marcia Ball. Although this is only her sixth album since her career shifted into high gear with 1984's Soulful Dress, Ball hits all those bases and more on her debut for Alligator. She's as comfortable with heart-wrenching lost-love songs like this album's touching "Let the Tears Roll Down" as with loose-limbed swampy piano/accordion-powered rockers such as "Louella." Her show-stopping piano virtuosity takes a back seat for the majority of this release, as Ball turns up the tough R&B heat on a cover of "Fly on the Wall" with guests Sonny Landreth on slide guitar and backing singers right out of Aretha Franklin's '60s heyday. Horns also play a large part, underpinning the Bobby "Blue" Bland-styled Crescent City soul-blues and rolling Fats Domino piano of Don Covay's "I'm Coming Down With the Blues."

Primarily known as sidemen, pianist Pinetop Perkins and guitarist Hubert Sumlin, if not as widely recognized as the artists they've supported, do have something of a legendary status in the blues world. Thus, this CD where the two of them take the lead (providing vocals as well) is aptly titled. The material consists mainly of longtime standards such as "Got My Mojo Working," "Rock Me Baby," "Hoochie Coochie Man," and "The Sky Is Crying," all performed with the considerable skill attained through years of experience. If Perkins and Sumlin's approach to these tunes isn't exactly innovative, it is rock solid and energetic, with plenty of excellent lead work from them both. Also notable is Annie Raines's harmonica, which provides solid counterpoint to the two leads, and occasionally takes the lead on its own.

In 2001, legendary blues pianist Pinetop Perkins was edging up on 88 years of age when he played the concert date in Chicago documented on this album. Perkins sounds plenty spry here, but this certainly doesn't capture the great man at his best; Perkins was a pioneer of the boogie-woogie style and was a longtime member of Muddy Waters' band, but most of On the 88's: Live in Chicago is devoted to easygoing midtempo numbers that sound a bit timid compared to what he played in his prime. Perkins shows he still had a great touch on this recording, and his timing is more than fine, but his left hand doesn't quite anchor these tunes the way he did in his salad days (it might have helped if he'd been given a better piano for this gig, since the instrument has the tone of a second-rate electronic keyboard), and even if his singing is game, his voice was showing its wear.

This is a disc made by one of the best piano players to come out of New Orleans, James Booker, playing with an all-star band of New Orleans musicians, most of whom Booker befriended during his days with Dr. John. The music sparkles, all the more amazing because it was recorded live in the L.A. area with no overdubs in 1973, and is just being released in 1995 because it was lost for 20 years. This disc hits a groove and does not quit, shifting from straight-ahead blues to an R&B beat, drifting into some complex Caribbean rhythms, moving off into some jazz riffs, but all the time maintaining the original blues feel it started with. All the players get to shine, but it is definitely James Booker's disc.

One of the great blues albums of the early '80s, Classified captures the legendary New Orleans pianist James Booker not long before his premature death at the age of 43 on November 8, 1983. Recorded in a series of sometimes problematic sessions in 1982 – producer Scott Billington details them in his terrific liner notes on the 2013 reissue of the record, which is remixed and expanded – Classified appeared just a few months before Booker's death, so it's hard not to read it as something of a final statement.

Why so much of what pianist/vocalist James Booker recorded in the 1970s didn't surface until the '90s is a mystery, but that's secondary compared to the greatness routinely presented on this CD. It contains nine Booker selections that he performed at the 1977 Boogie Woogie & Ragtime Piano Contest held in Zurich. His relentless, driving style, ability to switch from a hard-hitting tune to a light, soft one without skipping a beat, and his wild mix of sizzling keyboard licks and bemused, manic vocals are uniformly impressive. Piano Wizard a bit short for a CD at 37 minutes, but it has so much flamboyant music and singing that it shouldn't be missed.

Boogie-woogie pianist Jimmy Yancey and his wife, Mama Yancey, used to have musical gatherings at their Chicago home. The performances heard on this CD were recorded by a wire recorder three months before Yancey's death, and were released for the first time on this 1997 CD. The recording quality varies greatly, ranging from listenable to quite noisy, so this is not a release for general listeners. However, Jimmy Yancey collectors will definitely want it, because there are some unique moments heard along the way. First, an unknown pianist is featured on four numbers, playing very good boogie-woogie, accompanying Mama Yancey on "Make Me a Pallet on the Floor" and "Chicago in Mind." Jimmy Yancey, who was not feeling that well but still playing excellently, is featured on the next five numbers, although two of the three selections that also feature Mama Yancey and have Phil Kiely providing a third hand on the piano, playing the high notes, are a bit damaged. Walter Joplin (no relation) performs "Scott Joplin's New Rag." A jam session takes place with both of the Yanceys (they share the vocals on "Royal Garden Blues"), with clarinetist Buzz Reynolds and banjoist Dick Mushlitz featured on six mostly listenable numbers. In addition, Mushlitz switches to piano for a solo "Blues" recorded a day later, and there are repeats of three of the performances from a clearer but scratchier source. The joy of the music generally shines through on this historic release.

In his powerfully insightful book of blues-inspired poetry Fattening Frogs for Snakes - Delta Sound Suite, John Sinclair cites blues and jazz scholar Robert Palmer as a source for the theory that the linguistic taproots of the word "boogie" probably reach back to West Africa, as the Hausa "buga" and the Mandingo "bug" both mean "to beat" as in "to beat a drum." This makes sense given the rhythmic potency of boogie-woogie, a style that emerged during the early 20th century among Southern black laborers who lived, toiled, and partied near the very bottom of the U.S. social hierarchy, usually living in an environment that was secluded from the rest of the population and often engaging in the production of turpentine…