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By the mid 1930’s, there had been a significant change in the nature of blues piano. The piano blues and boogie-woogie of the “first generation” pianists had for the most part been a series of solo performances, augmented occasionally by perhaps a guitar. Boogie was a folk music; centered in a Northern city and always closely related to urban surroundings, but it still retained a certain flavor of its Southern and Mid-Western origins. The boogie-woogie and slow piano styles, deeply rooted in the tradition of the twelve-bar blues, laid the firm foundations on which the new form of an old music was based. And of these pianists none was the peer of Major “Big Maceo” Merriweather.
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