This is the most important instruction guide to blues style piano playing in print. It covers all styles of playing from 1900 to the present day and includes transcriptions of the recordings of twenty-two of the greatest exponents of barrelhouse and boogie piano. Among these are such greats as Memphis Slim; Alex Moore; Kid Stormy Weather; Cow Cow Davenport; Jelly Roll Morton; to mention just a few. All the transcriptions are accompanied by historical notes. This book also shows you how to develop blues techniques; how to improvise and includes coordination and fingering exercises; besides much else of importance to the blues pianist. It also contains a discography of albums by the twenty-two artists whose work appears in the book.
2015-01-05 2015-01-05File Name: B00R2SFD0K
Review
5 of 5 people found the following review helpful. One thing missing; a proofreaderBy Michael HamptonWhile interesting in format and concept; delivery is something altogether different. I can flip to almost any page; and find mistakes from dropped words; wrong word use; misspellings; and factual errors. Peter Filichia should be embarrassed to have his name on this book. As one of the reliable and entertaining stage experts; Peters book falls far short of its usefulness. This is the first time Ive actually returned a book for mistakes because there are so many present. One can only hope for an updated version edited by someone who can read and fact-check. Only then would I reconsider purchasing this book again.13 of 15 people found the following review helpful. "Go to" ShelfBy skipkoenigBroadway MVPs: 1960-2010 - The Most Valuable Players of the Past 50 Seasons Peter Filichias books remind me of the Tony Awards tapes: no matter how many times I enjoy them; I always learn something. I suspect that all readers can answer "yes" to the following ten questions; but in every case Peter takes you at least one step further. First answer the ten questions:1. Do you have the Pearl Bailey record of HELLO; DOLLY! [Its a simple question; but Peter will add further appreciation to your next playing.]2. Do you own DEAR WORLD?3. The 1973 Sondheim tribute; the one with the crossword puzzle cover?4. AINT MISBEHAVIN?5. Do you have the Lincoln Center Merman recording of ANNIE GET YOUR GUN?6. How about the extended cassette version of SUGAR BABIES?7. Did you miss getting the RAGS disc?8. Do you have the cast recording of FUNNY GIRL; mono or stereo?9. Do you have the cast album of OVER HERE!10. Finally; do you have Mary Martins record of HELLO; DOLLY!I suspect that you answered "yes" to all. But now Peters writing style shows his infectious enjoyment of sharing new facts that embellish further playings of these records. Sure; its fun to hear Pearlie Mae Bailey add her Pearl-isms especially to the title song; but without Baileys triumphant turn at the St. James Theater; the show would have closed after 4 years: it would not have become Broadways longest running musical. [And never under-estimate the power of an Ed Sullivan guest shot!] DEAR WORLD has a score to be re-played and re-enjoyed; but producer Alex Cohen set the tone for two decades of Tony Awards shows by poking fun at himself and this show at his Tony night warm-up. Maybe without his good nature we wouldnt have the Tonys on tv today.Well; Ill skip to lucky #7: Peter tells you where a video of RAGS is; he gives a Streisand speech that you havent heard. He takes you backstage on Closing night at OVER HERE! when an era ended and impeccably details Mary Martins HELLO; DOLLY! stint.And after a repeat reading; the reader says to himself: "How would he know that unless he were there or unless he spoke to the Broadway player?" Thats right: he was and he did.So this is one for your "go to" shelf. With pictures it will start out as "coffee table;" but will wind up as "daily reference." And what song was performed in the Toronto tryout; but is not on the Lincoln Center ANNIE GET YOUR GUN?? And what did Mickey Rooney say thats not even on the extended cassette?? And; the index makes the hunt fun. Happy hunting!2 of 3 people found the following review helpful. An utterly useless; embarrasingly bad book.By Bill DrummondsIm only a few years younger than Peter Filichia; and have participated in many musical productions. Im also; like Filichia; a rabid fan of the history of musical theatre. Im sorry to say this book is; simply; awful.First: Theres nothing new in it. Every scrap of information can be found in other -far better - books. Most of the entries are taken up with plot synopses and biographical info on the various actors; directors; writers; choreographers; etc.; that Filichia deems worthy of his pointless awards. Again; this is all common knowledge among true fans.Second: Apparently there was no proofreader or copy editor for the book. The errors range from innacuracies (the correct lyrics for "Im Still Here" are sloe-eyed vamp; not slow eye vamp; which makes no sense) to mispellings; dropped articles and pronouns; to the truly inexcusable: according to Filichia; Irene Ryan of PIPPIN died of an "inoperable brain rumor." (I kid you not.)Save your time and money. There are far; far better sources of information than this regurgitation of poor research; faulty memory; and mangled English. Musical theatre deserves better than this; and so does baseball.
