Lluis Coloma - Yancey Meets Booker

From the album "Lluís Coloma – Lonely Avenue" (2006).
https://www.discogs.com/release/3330099-Ll...

"From the beginning this outstanding Catalan pianist has been developing a personal touch with an incredible left hand offering powerful performances full of virtuosity and creativity. On this CD he includes his hot and tasty Hammond B3 organ playing as well. Lluís is one of the most requested piano players in Spain and considered a specialist, lecturing on the history of Blues and Boogie Woogie piano, and one of the few pianists in Spain able to recreate the primitive styles of this genre. Lluís Coloma plays his own compositions in a performance full of power, dynamics and honesty. His music evokes the sounds of New Orleans pianists, the Barrelhouse style, and Chicago, cradle of electric Blues. In this new album, Lluis Coloma’s trio is accompanied by four saxophonists, a guitarist and a percussionist. His music is pure boogie-woogie jazz."
https://www.lluiscoloma.com/en/lonely-aven...

Jimmy Yancey (1898 — 1951) was an American blues pianist who established the boogie-woogie style with slow, steady, simple left-hand bass patterns. These became more rapid in the work of his students Albert Ammons and Meade “Lux” Lewis, who popularized the “Yancey Special” bass pattern. Yancey was also known for the unpredictable inventiveness of his right hand.
https://www.britannica.com/biography/Jimmy...

Certainly one of the most flamboyant New Orleans pianists in recent memory, James Carroll Booker III was a major influence on the local rhythm & blues scene in the '50s and '60s. Booker's training included classical instruction until age 12, by which time he had already begun to gain recognition as a blues and gospel organist on radio station WMRY every Sunday. By the time he was out of high school he had recorded on several occasions, including his own first release, "Doing the Hambone," in 1953. In 1960, he made the national charts with "Gonzo," an organ instrumental, and over the course of the next two decades played and recorded with artists as varied as Lloyd Price, Aretha Franklin, Ringo Starr, the Doobie Brothers, and B.B. King. In 1967, he was convicted of possession of heroin and served a one-year sentence at Angola Penitentiary (referred to as the "Ponderosa"), which took the momentum out of an otherwise promising career. The rediscovery of "roots" music by college students during the '70s (focusing primarily on "Fess" by Professor Longhair) provided the opportunity for a comeback by 1974, with numerous engagements at local clubs like Tipitina's, The Maple Leaf, and Snug Harbor. As with "Fess," Booker's performances at the New Orleans Jazz & Heritage Festivals took on the trappings of legendary "happenings," and he often spent his festival earnings to arrive in style, pulling up to the stage in a rented Rolls Royce and attired in costumes befitting the "Piano Prince of New Orleans," complete with a cape. Such performances tended to be unpredictable: he might easily plant some Chopin into a blues tune or launch into a jeremiad on the CIA with all the fervor of a "Reverend Ike-meets-Moms Mabley" tag-team match.

https://www.allmusic.com/artist/james-book...