by Cub KodaCripple Clarence Lofton is one of those colorful names that adorned many an album collection of early boogie-woogie piano 78s in the early days of the 60s folk-blues revival. An early practitioner of the form, along with his fellow contemporaries Cow Cow Davenport, Meade Lux Lewis, Pine Top Smith, and Jimmy Yancey, Lofton was one of the originators who spread the word in Chicago in the early 20s. The physically challenged nicknamed he used — seen by modern audiences as a tad exploitative, to say the least — was a bit of a ringer. Although he suffered a birth defect in his leg that made him walk with a pronounced limp, it certainly didnt stop him from becoming an excellent tap dancer, his original ticket into show business. He quickly developed a stage act that consisted of pounding out the boogie-woogie on the piano while standing up, dancing, whistling, and vocalizing while — as one old bluesman put it — carrying on a lotta racket. Loftons technique — or lack of it — stemmed more from a tent show background and those listening to his earliest and most energetic recordings will quickly attest that hitting every note or making every chord change precisely were not exactly high priorities with him. But this wild, high energy act got the young showman noticed quickly and by the early 30s, he was so much a fixture of Chicago night life firmament that he had his own Windy City nightclub, the oddly named Big Apple. Lofton remained on the scene, cutting sides for the Gennett, Vocalion, Solo Art, Riverside, Session and Pax labels into the 40s. When the boogie-woogie craze cooled off and eventually died down in the late 40s, Lofton went into early retirement, staying around Chicago until his death in 1957 from a blood clot in the brain.