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that contains only a fraction of the material that I will eventually publish as a book.Some sections and references in this article are incomplete and will be expanded in the book, including never-before-published material from field research on Boogie Woogie by me and others.) There is every reason for us to know something about Africa and to understand its past and the way of life of its peoples.However, the style became a fixture in "Deep Ellum" after the turn of the century." Barlow obviously meant to write "northeast Texas," as there were no "Piney Woods" or "turpentine camps" in "northwest Texas." This typo is also obvious in that it is "northeast Texas" that is at the confluence of "northern Louisiana" and "southern Arkansas", an area currently known as the Arklatex.These comments on the origin of Boogie Woogie by Barlow is consistent with the 1899 witnessing by Leadbelly, as well as with the account given by Lee Ree Sullivan of Texarkana.However, before considering Boogie Woogie in such a broad historical context, I want to first examine its evolution within the United States."The first Negroes who played what is called boogie woogie, or house-rent music, and attracted attention in city slums where other Negroes held jam sessions, were from Texas.

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Good conversations, and funfilled laughs are always good ;).I'd previously used a match making company for a large fee, with disastrous results.The man I met through my Cyberdating personal ad turned out to be exactly what I'd been looking for for years.And all the Old-time Texans, black or white, are agreed that boogie piano players were first heard in the lumber and turpentine camps, where nobody was at home at all. Even before ragtime, with its characteristic syncopation and forward momentum, was picked up by whites in the North, boogie was a necessary factor in Negro existence wherever the struggle for an economic foothold had grouped the ex-slaves in segregated communities (mostly in water-front cities along the gulf, the Mississippi and its tributaries)." "Although the neighboring states of Arkansas, Louisiana, and Missouri would also produce boogie-woogie players and their boogie-woogie tunes, and despite the fact that Chicago would become known as the center for this music through such pianists as Jimmy Yancey, Albert Ammons, and Meade 'Lux" Lewis, Texas was home to an environment that fostered creation of boogie-style: the lumber, cattle, turpentine, and oil industries, all served by an expanding railway system from the northern corner of East Texas to the Gulf Coast and from the Louisiana border to Dallas and West Texas." (page 75) William Barlow writes in Chapter 7, page 231: "Piano players were the first blues musicians associated with the Deep Ellum tenderloin.In Dallas, Houston, and other cities of Eastern Texas, the prevailing piano style of uptempo blues numbers was called "Fast Western" or "Fast Texas." An offshoot of boogie woogie, it probably came from the "Piney Woods" lumber and turpentine camps based in northwest Texas, northern Louisiana, and southern Arkansas.

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