Thank goodness Meade Lux Lewis named the piece "The Yancey Special" and not "The Lewis Special"! We might never have known Yancey's greatness so thoroughly. I think you're right about it being a Lewis bassline, but I love how much it captures Yancey's spirit. In the early 20s Lux and Ammons (young teenagers) pretty much worshipped Yancey. Flash forward 15 years , when Lux recorded this song, and he had developed his own thing with what he'd heard. It's technically the "Yancey-inspired Lewis Bass", but I bet Lux would be more than happy to let Jimmy have the credit!

The bass figure used by Meade “Lux” Lewis in his piece, “Yancey Special,” is considered a variation of a bass figure used by Jimmy Yancey. However, Jimmy Yancey often left out the upper C when playing the bass figure. That is, while Lewis would play C1, C2, E1, G1, E1, G1, Yancey would often play C1, E1, G1, E1, G1…with each note at the same rythmic location. The basses are similar enough, that most Boogie Woogie historians consider either version to be a “Yancey bass.” This Yancey bass is really a slightly more complex version of the much older Habanera bass (of Cuban origin), which would be C1, E1, G1, E1 (same rhythmic locations), which is why Yancey was regarded as manifesting the “Spanish tinge” in this bass figure. While it is true to say that Lewis “popularized” his variation of the Yancey bass figure, it is important to remain cognizant that Lewis got the idea from Yancey and intended to explicitly pay homage to Yancey by use of the figure.

​@@JohnTennison Ok, I can accept that thesis about the baseline but I also assumed Lewis' Yancey Special was more a hommage to Yancey in terms of aesthetics such as simplicity and economic expression. Lewis was overall much more of an extroverted performer compared to Yancey.

“Meade Lux Lewis was influenced in his own playing by his close contact with Yancey during his formative years in Chicago. The recording, by Lewis, of Yancey Special (1936)-the piece that Yancey had been playing since 1915-did much to bring the talents of the older man to the attention of the jazz public. There were recognizable similarities in the styles of the two pianists, but the tone that each produced was unique. Lewis had a full tone, whereas Yancey's was economical. There are phrases in "Six Wheel Chaser" (1940) that were borrowed and developed from "Yancey Stomp." There is also the shadow of "Five O'Clock Blues" in the Lewis number "Dupree Blues" (1955), but the reason for this may owe more to its popularity with pianists than to a conscious imitation of the older man's playing. Lewis dedicated a second composition to his mentor entitled "Yancey's Pride" (1944), in which strains of Yancey's treble work can again be discerned.” - The Story of Boogie-Woogie: A Left Hand Like God by Peter J. Silvester

Thank you all for so much great info! I'm going to pin this thread to the top so that we can all learn from your collective expertise! 🙏

me too!

That's a great suggestion! Love that song and especially love Jimmy Yancey's version.

Thanks FTBW! Can't wait to hear it.

Thank you Richard! KZfaq is a great tool for learning isn't it!

The best 👌

Thanks! Have fun!

Thanks Dave always a pleasure!

thank you for all the kind words!! 🙏

Thanks Glynn I really appreciate it! I will consider doing something on Bourbon Street Parade.

Hi Arthur. I totally agree with Glynn. Love your videos. This bassline is sooo nice. Thank you.

Of course! He was a true artist.

Yes! They are not all 1/8 notes.

Excellent!