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  2. Joshua Altheimer - Wikipedia

    en.wikipedia.org/wiki/Joshua_Altheimer

    Joshua Altheimer (May 17, 1910 – November 18, 1940) [1] [2] [note 1] was an American pianist who is remembered for accompanying Big Bill Broonzy, Lonnie Johnson, Sonny Boy Williamson and others on influential blues recordings made in Chicago in the 1930s.

  3. David Bennett Cohen - Wikipedia

    en.wikipedia.org/wiki/David_Bennett_Cohen

    In 1975, Happy Traum invited Cohen to record instructional lessons on piano for his Homespun Tapes series. Subsequently, he recorded three videotapes on blues piano, audio tapes on blues, rock and ragtime piano, and a separate instructional package on blues piano, David Bennett Cohen Teaches Blues Piano, Volumes I and II .

  4. Miracle Piano Teaching System - Wikipedia

    en.wikipedia.org/wiki/Miracle_Piano_Teaching_System

    The Miracle system assesses the player's ability to create custom lessons. [4] Fun exercises were meant to make learning the piano seem less like a chore and more like playing a video game. Instead of using the traditional NES controller, the piano becomes the controller as players aim at targets in order to perfect their music skills.

  5. Category:Piano blues albums - Wikipedia

    en.wikipedia.org/wiki/Category:Piano_blues_albums

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  6. Luca Sestak - Wikipedia

    en.wikipedia.org/wiki/Luca_Sestak

    Today, however, my relating to classical music is diminishing again; to be honest, it isn’t easy to run on two tracks and my heart beats much louder for the blues." [3] After two years of classical piano lessons Sestak discovered jazz and blues music, in particular boogie-woogie, on the internet mainly through YouTube.

  7. Wesley Wallace - Wikipedia

    en.wikipedia.org/wiki/Wesley_Wallace

    In 1977, Magpie Records issued a sixteen track compilation, The Piano Blues Volume One : Paramount 1929-1930, which had both of Wallace's solo tracks. The album's liner notes stated that Wallace was "an highly individual and eccentric pianist" and that "Fanny Lee Blues" was "common to the St. Louis style" and "played with disregard to bar lengths".

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