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Johnny B. Moore (born Johnny Belle Moore, January 24, 1950, Clarksdale, Mississippi) [2] is an American Chicago blues and electric blues guitarist, singer and songwriter. [1] He was a member of Koko Taylor's backing band in the mid-1970s.
The melody is similar to "Miss Lucy Long" and was originally set for piano accompaniment, [3] although "De Blue Tail Fly" was marketed in Boston as one of "Emmett's Banjo Melodies". [20] The four-part chorus favors a single bass and three tenors: the first and third tenors harmonize in thirds with the second completes the triads or doubles the ...
Here, the twelve-bar progression's last dominant, subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are doubled in length, becoming the sixteen-bar progression's 9th–10th, 11th–12th, and 13th–16th bars, [citation needed]
In late 2010, Johnny Iguana formed the Claudettes, a "piano boogie, punk blues, and cabaret" rock and roll outfit, who have had an ever changing line-up, although they have released four albums. [ 2 ] [ 4 ] [ 3 ] Their latest collection, High Times in the Dark , was recorded and issued in the midst of the COVID-19 pandemic in the United States .
The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's " Blues for Alice ".
Jones was born in Jackson, Mississippi, United States, in 1924, and was a cousin of Otis Spann. [1] He arrived in Chicago in 1945 in the company of Little Walter and "Baby Face" Leroy Foster and soon replaced pianist Big Maceo Merriweather in Tampa Red's band after Merriweather suffered a stroke paralysing his right hand. [2]
Johnny "Big Moose" Walker (June 27, 1927 – November 27, 1999) was an American Chicago blues and electric blues pianist and organist. He worked with many blues musicians, including Ike Turner, Sonny Boy Williamson II, Lowell Fulson, Choker Campbell, Elmore James, Earl Hooker, Muddy Waters, Otis Spann, Sunnyland Slim, Jimmy Dawkins and Son Seals.
At its most basic, a single version of this blues scale is commonly used over all changes (or chords) in a twelve-bar blues progression. [7] Likewise, in contemporary jazz theory, its use is commonly based upon the key rather than the individual chord. [2] Greenblatt defines two blues scales, the major and the minor.
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