Jerry Lee Lewis
In Chapter 11, Memphis, Tennessee, was listed as one of America's blues capitals. It was also the home to Sam Phillips's legendary Sun Records. At Sun, musicians such as Elvis Presley, Roy Orbison, Johnny Cash, Carl Perkins, and others got their start. Jerry Lee Lewis was another young talent who hit the big time after recording for Sun.
Born in Louisiana in 1935, Lewis was exposed to both country and blues music as a youngster. Like Little Richard, Lewis was brought up a devout Christian. However, the young pianist cared more about boogie-woogie and “devil's music” than he did hymnals. This led to his expulsion from Bible school in Texas.
Lewis recorded his first single in 1954. However, it was Jack Clement who cemented Lewis's fame by signing him to Sun Records two years later. In 1957, Lewis became a teen idol scoring big with “Whole Lotta Shakin' Goin' On” and “Great Balls of Fire.” However, scandal in England over his marriage to a cousin proved fatal to his reputation. This was soon followed by alcohol and drug addictions, health problems, and other personal tragedies. All of this sidetracked a very promising career. By the late 1960s, Lewis switched from rock-n-roll to country, hoping to find some renewed success. This decision paid off in 1972 when Lewis earned a number-one country hit with his version of “Chantilly Lace.”
Nicknamed “The Killer,” Lewis was one of rock's first bad boys. He toted guns, got into trouble with the law, and went wild on stage. He was known for standing on pianos, sitting on the keys, dancing as he played, and other histrionics. Despite these gimmicks, Lewis was a skilled pianist, which is apparent on both his rock-n-roll and country albums.
FIGURE 13-11: Jerry Lee Lewis Boogie-Woogie
Jerry Lee Lewis has two famous cousins. One is the former televangelist Jimmy Swaggart and the other is the country singer Mickey Gilley. In 1988, Reverend Swaggart's reputation took a nosedive due to an affair with a prostitute. Once again, Lewis's family was in the spotlight for scandalous reasons. During this time, Lewis was making a comeback on the rock-n-roll oldies circuit.
The following figure shows one boogie-woogie pattern that Lewis might have played during his rock years. If the left hand eighth notes are too fast, try simplifying them by playing quarter notes on beats one, two, and three. You will still need to play the eighth notes (A and G) on beat four.
You may have guessed that Lewis liked to play fast. This is true. Like Little Richard, speed and energy were integral to his sound. However, many of his songs are really just pumped-up blues numbers and the licks he plays draw largely from pianists like Albert Ammons and others. As you have seen in previous examples in this chapter, rock-n-roll piano uses a lot of roots, fifths, octaves, and sixths. Often these are played as rapid-fire sixteenth notes or triplets. There are other clichés, too. FIGURE 13-12 shows you a repetitive right-hand pattern that Jerry Lee Lewis might have played. This would be played over a C or I chord (in the key of C major). This lick is fast, so again, learn it smoothly at a slower tempo before you try playing up-tempo. Clean, articulate playing is the objective here.
FIGURE 13-12: Right-Hand Riff
FIGURE 13-13: Triplet Riff
Note:
The 2,1 fingerings are played by the LEFT hand and the 1,3 fingerings are played by the RIGHT hand.
Another pattern that Jerry Lee Lewis might have played is shown in FIGURE 13-13. This pattern uses both hands in the middle register of the piano. Be sure to note the fingerings and give this lick a percussive feel. In other words, don't play the notes too legato or pretty. Play them loud and staccato.
Jerry Lee Lewis was also very fond of glissandos. He often played big glissandos up and down the white and black keys of the keyboard. Lewis used his hands, elbows, feet, and even his buttocks (yes, his butt) to play glissandos, but unless you plan on being a showman in the Lewis style, it's recommended that you use only your hands! As discussed in Chapter 10, glissandos can be played many different ways. Obviously, the prim and proper classical glissando is not necessary here. The bottom and top notes indicated for the start and stop points of the glissando also do not need to be exact. Simply drag your hand up or down the keys as indicated, make sure you don't lose the beat, and play the other (nonglissando) notes accurately. In this style of music, the glissandos should be a little loose and carefree. Let 'em fly.
FIGURE 13-14: Glissandos
Last, a generic rock-n-roll comping pattern is included here. This is a simple roots/fifth phrase that is used by players like Little Richard, Jerry Lee Lewis, and others when they are essentially “marking time” at a fast speed. For example, Lewis would use this pattern when he was concentrating on his singing. FIGURE 13-15 shows you how to do this over a C chord. Over an F chord, you would use the notes F (in octaves) and C. Over a G chord, you would use the notes G (in octaves) and D.
FIGURE 13-15: Generic Rock-n-roll Comping
Can be transposed to IV or V chords too!
