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Eddie “Piano” Miller

Among the countless existing performers named Eddie Miller, just a few thought we would fancy credit points up with a nickname. With this little realm from the nicknamed, some select something basic, announcing clearly what type of instrument they might become playing. Eddie “Piano” Miller can be an example of this sort of crediting used, another can be an R&B vocalist from New Orleans, Eddie “Sing” Miller. The previous isn’t the just Eddie Miller to arrive sliding along on the piano feces: others that arrive on documenting credits add a traditional blues pianist through the ’20s and ’30s, and a program guy out in LA who opt for different type of rhyming, bragging, probably even intimidating nickname, Eddie “Killer” Miller. Songwriting and posting credits associated with the name Eddie Miller are a lot more of the potential mess, however the subject matter does need the immediate tugging back from the wizard’s drape to reveal the person concealing behind it. Eddie “Piano” Miller was just a stage name utilized by a performer whose true name, also utilized often in credits, was Eddie Lisbona or Edward Lisbona. The Lisbona name was the main one useful for the man’s songwriting catalog, which in almost 30 years in the music business, grew quite intensive. As Lisbona he collaborated with some different writing companions through the ’30s through the ’50s, overt sentimentality as an nearly consistent trademark if the accomplice was Tommie Connor in the ’30s or Joe Lubin in the ’50s. Credits for songwriters called Eddie Miller undoubtedly have nothing in connection with Lisbona’s composing attempts. For who they are doing have something regarding, it is a thorough subject matter spanning the annals from the documenting industry, including a few of the most well-known recorded attempts in blues, rock and roll & roll, nation & western, traditional chorale and gangsta rap. Lisbona’s usage of the Miller name avoids all this — he appears to have been Eddie “Piano” Miller just on particular piano playing events, including gigs where he fronted an orchestra. You can find recordings offering Eddie “Piano” Miller’s Orchestra like the English edition of “Daddy’s LITTTLE LADY” with vocalist Dick Todd. In cases like this, it is a very important thing the nickname can be in there, assisting to prevent confusion using the orchestra fronted with the famed reed participant Eddie Miller. Lisbona produced heaviest usage of the name in the next half from the ’50s as the hi-fi and lounge music trend swept the hippest bachelor flats. Retro worshipers of the eras sometimes ignore that there have been varieties of music not really involving bongos that truly were considered industrial, such as for example ragtime and honky tonk piano. Manufacturer and record firm owner Joe Davis employed this musician as both Eddie Lisbona for the 1954 session offering drummer Cozy Cole so that as Eddie “Piano” Miller on a couple of eight monitors pitched on the honky tonk piano marketplace a couple of years afterwards. Davis definitely got his money’s worthy of, issuing and reissuing the materials on a number of different brands and really striking pay out dirt with a forward thinking new budget series. A lot of the clients who exchanged a money for the duplicate of Mr. Honky Tonk understood nothing at all about the person contacting himself Eddie “Piano” Miller, not that he pronounced what “honky tonk” in a different way since he was English. His career started in the first ’30s in London. In those days, he recorded frequently in a music group led by Jerry Hoey and was securely beneath the sway of jazz improvements from america. A 1926 efficiency by Paul Whiteman could have been thought to possess blown his brain had this manifestation been in utilization during Whiteman’s reign. Another important impact was the dance music group maestro Ambrose, with whom Lisbona worked well like a pianist beneath the name of Miller. With this capability, he accompanied a number of the finest performers of the next World War period, Vera Lynn and Anne Shelton.

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