Mitch Woods and His Rocket 88s have been the torchbearers of a great American blues musical heritage, not for three years but three decades. Taking their inspiration from the great jump n’ boogie outfits of the late 40s and early 50s, they breathe fresh life into the music that gave birth to rock n’roll. Woods styled his group after the jumpin’ n’ jivin’, shoutin’ n’ honkin’, pumpin’ n’ poundin’ bands of Louis Jordan, Wynonie Harris, Joe and Jimmy Liggins, Amos Milburn, and Roy Milton. Adding a healthy dose of New Orleans rhythm and blues, piledrivin’ piano, and some of his own contemporary playful lyrics, Woods and His Rocket 88s forge their own brand of music they call “rock-a-boogie.”
Born in Brooklyn in 1951, Mitch Woods began playing classical piano at eleven, but his real initiation into blues and boogie piano had already been assured at age eight. “My mom would hire this superintendent of the building, a black man, Mr. Brown, to take me to school, and we stopped off at his cousin’s house, where somebody was playing boogie-woogie piano. It really hit me.”
Woods was putting together bands in Greenwich Village by his mid-teens. By the time he entered the University of Buffalo, Woods was sitting in at local clubs and discovering records by boogie-woogie pioneers Meade Lux Lewis, Albert Ammons, and Pete Johnson. Woods came to San Francisco in 1970, and for the next five years performed as Mitch Woods and His Red Hot Mama (with singer Gracie Glassman). One night Oakland guitarist Hi Tide Harris heard Woods opening for Charlie Musselwhite and was reminded of the sound and theatrics of early R&B pioneer Louis Jordan. Indeed, Jordan has always been a primary influence on Woods. “I actually did see Louie Jordan in Oakland. He was the bridge between swing and rock and roll. He would do a five or six piece band, get a lot of power out of that.”
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Born in Brooklyn in 1951, Mitch Woods began playing classical piano at eleven, but his real initiation into blues and boogie piano had already been assured at age eight. “My mom would hire this superintendent of the building, a black man, Mr. Brown, to take me to school, and we stopped off at his cousin’s house, where somebody was playing boogie-woogie piano. It really hit me.”
Woods was putting together bands in Greenwich Village by his mid-teens. By the time he entered the University of Buffalo, Woods was sitting in at local clubs and discovering records by boogie-woogie pioneers Meade Lux Lewis, Albert Ammons, and Pete Johnson. Woods came to San Francisco in 1970, and for the next five years performed as Mitch Woods and His Red Hot Mama (with singer Gracie Glassman). One night Oakland guitarist Hi Tide Harris heard Woods opening for Charlie Musselwhite and was reminded of the sound and theatrics of early R&B pioneer Louis Jordan. Indeed, Jordan has always been a primary influence on Woods. “I actually did see Louie Jordan in Oakland. He was the bridge between swing and rock and roll. He would do a five or six piece band, get a lot of power out of that.”
Mitch Woods and His Rocket 88s have been the torchbearers of a great American blues musical heritage, not for three years but three decades. Taking their inspiration from the great jump n’ boogie outfits of the late 40s and early 50s, they breathe fresh life into the music that gave birth to rock n’roll. Woods styled his group after the jumpin’ n’ jivin’, shoutin’ n’ honkin’, pumpin’ n’ poundin’ bands of Louis Jordan, Wynonie Harris, Joe and Jimmy Liggins, Amos Milburn, and Roy Milton. Adding a healthy dose of New Orleans rhythm and blues, piledrivin’ piano, and some of his own contemporary playful lyrics, Woods and His Rocket 88s forge their own brand of music they call “rock-a-boogie.”
Born in Brooklyn in 1951, Mitch Woods began playing classical piano at eleven, but his real initiation into blues and boogie piano had already been assured at age eight. “My mom would hire this superintendent of the building, a black man, Mr. Brown, to take me to school, and we stopped off at his cousin’s house, where somebody was playing boogie-woogie piano. It really hit me.”
Woods was putting together bands in Greenwich Village by his mid-teens. By the time he entered the University of Buffalo, Woods was sitting in at local clubs and discovering records by boogie-woogie pioneers Meade Lux Lewis, Albert Ammons, and Pete Johnson. Woods came to San Francisco in 1970, and for the next five years performed as Mitch Woods and His Red Hot Mama (with singer Gracie Glassman). One night Oakland guitarist Hi Tide Harris heard Woods opening for Charlie Musselwhite and was reminded of the sound and theatrics of early R&B pioneer Louis Jordan. Indeed, Jordan has always been a primary influence on Woods. “I actually did see Louie Jordan in Oakland. He was the bridge between swing and rock and roll. He would do a five or six piece band, get a lot of power out of that.”
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Born in Brooklyn in 1951, Mitch Woods began playing classical piano at eleven, but his real initiation into blues and boogie piano had already been assured at age eight. “My mom would hire this superintendent of the building, a black man, Mr. Brown, to take me to school, and we stopped off at his cousin’s house, where somebody was playing boogie-woogie piano. It really hit me.”
Woods was putting together bands in Greenwich Village by his mid-teens. By the time he entered the University of Buffalo, Woods was sitting in at local clubs and discovering records by boogie-woogie pioneers Meade Lux Lewis, Albert Ammons, and Pete Johnson. Woods came to San Francisco in 1970, and for the next five years performed as Mitch Woods and His Red Hot Mama (with singer Gracie Glassman). One night Oakland guitarist Hi Tide Harris heard Woods opening for Charlie Musselwhite and was reminded of the sound and theatrics of early R&B pioneer Louis Jordan. Indeed, Jordan has always been a primary influence on Woods. “I actually did see Louie Jordan in Oakland. He was the bridge between swing and rock and roll. He would do a five or six piece band, get a lot of power out of that.”
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401 Mason Street, San Francisco, CA 94102
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