Starring NOBLE SISSLE EUBIE BLAKE

Total Page:16

File Type:pdf, Size:1020Kb

Starring NOBLE SISSLE EUBIE BLAKE Starring NOBLE SISSLE • EUBIE BL AKE BROOKLYN ACADEMY OF MUSIC December 15, 1967 8:30 p.m. PROGRAM NOTES Eubie Blake - Eubie Blake I a native of Baltimore I Md. I was christened James Hubert. However I at an early age he was affectionately called "Hubie". This eventually was short­ ened to "Eubie" by which he is now professionally known. At 17 he started playing the piano professionally. In 1915 he and Noble Sissie formed a partnership as lyricist and composer. They wrote the famous "I'm Just Wild About Harry" for the Broadway show "Shuffle Along". In the early 30's Mr. Blake collaborated with Andy Razaf and wrote the musical score for Lew Leslie's "Blackbirds". Out of this association came the still popular song "Memories of You". In the 40's Mr. Blake became musical conductor for the USO Hospital Unit. He retired in 1940. Mter retirement he returned to school and graduated at the age of 66 from New York University having completed a course "The Schillinger System of Composition." He has been honored by many organizations and the City of New York for more than fifty years of contributing to musical entertainment. On February 7 I 19 68 he will be eighty five years old. Noble Sissie - Noble Sissle was born in Indianapolis on July 10 I 1889. His mother was a schoolteacher - his father a Methodist minister. He graduated from Cleveland High School and attended Butler University until the death of his father at which time he left school to assist his mother with his sister 1 Ruth 1 and brother 1 Andrew. Later he joined Jim Europe' s orchestra and went overseas in World War I. Mter the war he returned to the States and toured with the 3 69th lnfantry Band as a soloist. At the death of Jim Europe he formed a vaudville team with Eubie Blake and produced "Shuffle Along" which included the now famous "I'm Just Wild About Harry". ., RHYTHMS OF AMERICA Starring - Noble Sis sle and Eubie Blake with Singers Marjorie Hopson William Baker Mabel Lee The Persuasions Jerome Lawson James Hayes Herbert Rhoad Calvin Washington Jesse Russell Dancers Ernest Brown Charles Cook Musicians James Toliver Leroy Gibbs Charles Simons PROGRAM 1. Songs of the ethnic groups from other lands 2 . Birth of the Spirituals 3. Minstrel Shows Intermission 4. Slides of contributors to the Rhythms of America S. Development of rhythm by the Negro from Ragtime to Rock and Roll Credits Production Coordination - Miss Sadie Feddoes Production Consultant - Robert Kimball ... • Presented by Bedford Stuyvesant Restoration Corporation Franklin A. Thomas, Esq. Thomas R. Jones, J.C.C. Executive Director Chairman .
Recommended publications
  • Tribute to Eubie Blake a Phenomenal Jazz Artist
    Page 7 March 17, 1983 Black Ink Morgan, Revis set examples; encourage black participation Randall G. Kenan Staff Writer When intrumural and recreational sports first appeared on the University of North Carolina campus many decades ago, they were student controlled. Today the intramural program has grown from a few narrow athletic events to one of the countries best non-varsity athletic programs which is funded and managed by the University. The Carolina IM-Rec Sports Program provides over 120 activities during the academic year eight years ago they were providing only 40. Nearly 50 percent of the student body participates in the program. And though com­ petition can become intense, there is still room for a large degree of "socialization," according to Edgar Shield, assistant professor of physical education and director of IM-Rec. Shields said that IM-Rec attempts to provide something for everyone — competition and fun. Black participation in the program is roughly close to the representative proportion of black presence at UNC. However, it is disproportionately spread among the sports. Basketball claims an overwhelming majority of the black non-varsity athletics. Shields expressed concern that outside basketball, blacks seemed to have little interest in participation. In other popular sports, such as tag-football, softball, soccer and tennis, blacks don't take part in large numbers. Rene' Revis, who is a black student and a member of the IM-Rec staff, believes the problem lies in several places. One, she says, is communica­ tion. The black students are not aware of all the activities available to them through IM-Rec.
    [Show full text]
  • John Edward Hasse Collection Ca. 2004 Copies (Ca
    Collection # P 0470 JOHN EDWARD HASSE COLLECTION CA. 2004 COPIES (CA. 1910S–1920S) Collection Information Biographical Sketches Scope and Content Note Series Contents Cataloging Information Processed by Barbara Quigley 27 October 2005 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 1 black-and-white photograph folder; 1 color photograph folder COLLECTION: COLLECTION Ca. 2004 copies (ca. 1910s–1920s) DATES: PROVENANCE: Gift from John Edward Hasse of the Smithsonian Institution. RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED HOLDINGS: ACCESSION 0000.0412 NUMBER: NOTES: The William Henry Smith Memorial Library holds several publications authored by John Edward Hasse. BIOGRAPHICAL SKETCHES Indianapolis was a rich center of ragtime and jazz in the early twentieth century. Ragtime, a uniquely American musical genre based on African-American rhythms, flourished throughout the United States from the late 1890s to the end of World War I. There were several distinguished ragtime composers and performers in Indianapolis during that time. Many were African-Americans who performed along Indiana Avenue, but little of their music was published. Most of the published composers were middle class whites, including numerous women. The city’s ragtime community included May Aufderheide, Cecil Duane Crabb, Will B. Morrison, Julia Lee Niebergall, J. Russel Robinson, and Gladys Yelvington. In the early twentieth century jazz was created primarily by African-Americans. Indianapolis was a favorite destination for touring musical shows, and there was much work for local musicians.
    [Show full text]
  • Social Dance and Jazz, 1917–1935 Key People
    Starr-Waterman American Popular Music Chapter 3: “Catching as the Small-Pox”: Social Dance and Jazz, 1917‒1935 Key People Edward Kennedy “Duke” Ellington (1899–1974): Composer and pianist widely regarded as one of the most important American musicians of the twentieth century. Eubie Blake (1883–1983): Ragtime pianist and composer who began his career with James Reese Europe’s orchestra in 1916 and, along with Noble Sissle, launched the first successful all-black Broadway musical, Shuffle Along. James “Bubber” Miley (1903–1932): Influential trumpeter who created his signature sound by combining two types of mutes and creating a deep growl in his throat. James Reese Europe (1880-1919): African American musical director hired by Vernon and Irene Castle; career as a popular dance musician skyrocketed, but continued to devote energy to establishing a black symphony orchestra that would specialize in the works of African American composers. Justo Don Azpiazú (1893–1943): Leader of the Havana Casino Orchestra who gave American audiences their first taste of authentic Cuban music. King Joe Oliver (1885–1938): Cornetist and mentor to Louis Armstrong who lead King Oliver’s Creole Jazz Band and made some of the first recording by black musicians from New Orleans. Louis Armstrong (1901–1971): Brilliant cornetist and singer affectionately known as “Satchelmouth” or “Satchmo” who built a six-decade musical career that challenged the distinction that is sometimes drawn between the artistic and commercial sides of jazz music. Nick LaRocca (1889‒1961): Leader of a white group from New Orleans called the Original Dixieland Jazz Band, recordings of “Libery Stable Blues” and “Dixieland Jass Band One-Step” were released in 1917.
    [Show full text]
  • Zhetfostza/Aedjsoutsong 5//?Ce"MISS0URI WALTZ" MISSISSIPPI CRADLE
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 48 THE MUSIC TRADE REVIEW DECEMBER 31, 1921 "SHUFFLE ALONG" A SUCCESS recorded in talking machine record and music roll form. These include: "Love Will Find a She's ^4 Sensation? Colored Entertainers Playing to Packed Way," "Gypsy Blues," "Bandanna Days," "Bal- Audiences—Witmark Publishing the Score timore Buzz," "I'm Wild About Harry" and "Honeysuckle Time." OLD IASHICNED One of the remarkable features of the present theatrical season in New York is the success of BETTER TRADE IN NEW LOCATION GIRL the musical comedy, "Shuffle Along." This show, which has played for eight months to packed J. P. Broder Now With Hauschildt Music Co., San Francisco, Handling a Large Volume of OFFICIAL ROSE FESTIVAL SONQ Popular Sheet Music Business "Beautiful Oregon Rose" Selected for Oregon SAN FRANCISCO, CAL., December 23.—J. P. Bro- Celebration—Popular Songs That Are Selling der, sheet music dealer, who moved in with the PORTLAND, ORE., December 23.—The "Beautiful Hauschildt Music Co. when Byron Mauzy sold Oregon Rose," by H. Edward Mills, has been out a few months ago, reports that he is doing adopted by the Rose Festival Committee as the a very much better business in his new location, official song for the 1922 Rose Festival, and the which is in the center of the theatre district. song will be sung in all the schools of the State He says "Tennessee Moon," "Song of India" in connection with the Arbor Day celebration and "Wabash Blues" are among his best sellers in February.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    BLACK MANHATTAN, VOLUME 2 THE PARAGON RAGTIME ORCHESTRA RICK BENJAMIN, DIRECTOR 80731-2 1. Shuffle Along Overture (1921) (Eubie Blake–Will H. Vodery) 6:30 Introducing “Opening Chorus,” “Love Will Find a Way,” “Honeysuckle Time,” “If You’ve Never Been Vamped by a Brown-Skin,” “Gypsy Blues,” “I’m Just Wild About Harry,” “I’m Craving for That Kind of Love,” and “Bandanna Days” 2. Nobody (1905) (Bert A. Williams) 4:54 Edward Pleasant, baritone 3. That’s Got ’Em—Rag (1919) (Wilbur C. Sweatman) 2:26 4. Honey Lamb (ballad, 1914) (Al. Johns) 3:26 Anita Johnson, soprano 5. Brazilian Dreams (tango-intermezzo, 1914) (Will H. Dixon) 3:59 6. Down in Honky Tonky Town (one-step, 1916) (Chris Smith) 2:04 7. Returned: A Negro Ballad (1902) (Will Marion Cook) 6:23 Anita Johnson, soprano; Rick Benjamin, piano 8. The Bell Hop Rag (1914) (Frederick M. Bryan) 3:28 9. Black Patti Waltzes (1896) (Will Accooe) 6:16 10. Goodnight Angeline (1919) (James Reese Europe) 3:08 Robert Mack, tenor 11. The Castle Walk (one-step, 1914) (James Reese Europe–Ford T. Dabney) 2:46 12. Aunt Hagar’s Children Blues (1921) (W.C. Handy) 2:39 Linda Thompson Williams, blues singer 13. Valse Angelique (1913) (J. Tim Brymn) 3:56 14. At the Ball, That’s All (1913) (J. Leubrie Hill) 2:37 Edward Pleasant, baritone 15. When the Moon Shines (from the 1904 revival of In Dahomey) (James J. Vaughan) 3:53 Anita Johnson, soprano 16. Oh! You Devil (rag, 1909) (Ford T. Dabney) 3:35 17.
    [Show full text]
  • The Circulating Film & Video Library November 21, 2019-December 4
    The Histories of Film: The Circulating Film & Video Library November 21, 2019-December 4, 2019 Thursday, November 21 4:30pm The Execution of Mark Queen of Scots. 1895. USA. Produced by The Edison Co. Photography by William Heiss. Silent with musical accompaniment. 16mm. 20 seconds. The Irwin-Rice Kiss. 1896. USA. Produced by The Edison Co. Silent with musical accompaniment. 16mm. 28 seconds. Great Actresses of the Past. 1911-16. USA. Digital transfer from 35mm. 76 minutes. Silent with musical accompaniment. Madame Sans-Gêne (excerpt). 1911. France. Film D’Art. Directed by André Calmettes. With Gabrielle Réjane. 13 min. La Dame aux Camélias (excerpt). 1912. France. Film D’Art. Directed by André Calmettes. With Sarah Bernhardt, Lou Tellegen. 16min. Vanity Fair (excerpt). 1915. USA. Edison Company. Directed by Eugene Nowland. With Minnie Maddern Fiske. 16min. Cenere (excerpt). 1916. USA. Ambrosio-Caesar-Film. Directed by Febo Mari and Arturo Ambrosio. With Eleanora Duse, Febo Mari. English titles. 24 min. Enoch Arden (extant reels: conclusion). 1915. USA. 16mm. Supervised by D.W. Griffith. Directed by William Christy Cabanne. With Lillian Gish. 30 min. Silent with musical accompaniment. 7:30pm Olympia (Diving Sequence). 1938. Produced and Directed by Leni Riefenstahl. Music by Herbert Windt. 16mm. 6 min. Thunder Over Mexico. 1933. USA. Produced by Sol Lesser. Edited by Harry Chandlee from footage shot for Que Viva Mexico! Directed by Sergei Eisenstein. 1933. Music by Hugo Riesenfeld. 60 min. Digital transfer from 16mm. The Coming of Sound. 1927-28. USA. 16mm. 39 min. The Jazz Singer (Homecoming sequence and Finale). 1927. Warner Bros. Directed by Alan Crosland.
    [Show full text]
  • Shuffle Along
    (though even there, he can be flashy and genuinely surprising). “Baltimore Buzz”, a solo piano instrumental, offers yet more evidence of Blake’s superior skill and fire. This is the bar that Blake and the stride masters have set for up-and-comers who find inspiration in this vital yet underappreciated music. Asherie covers just a subset of the Shuffle Along program, though he Sing Shuffle Along includes two songs, “Everything Reminds Me of You” Sissle & Blake (Harbinger) Shuffle Along and “Goodnight Angeline”, which don’t appear on the Ehud Asherie (Blue Heron) Sissle and Blake CD. His touch is confident, improvising by David R. Adler fluid and astute, arrangements poised on the edge between stride and modern piano languages— Thanks to George C. Wolfe, Savion Glover and the sometimes very consciously as on “Bandana Days” team behind the current Broadway revival of Shuffle and “If You’ve Never Been Vamped by a Brownskin”. Along at the Music Box Theatre, there’s renewed Asherie’s rubato ballads, including the landmark interest in black musical theater of the ‘20s, a fascinating “Love Will Find a Way” (one of the first popular songs ADAM O’FARRILL era when jazz began to define the pop culture to depict romantic love between African-Americans), landscape. This all-black 1921 show, with music by deftly blend a modern sensibility with a fluency in the STRANGER DAYS pianist/songwriter Eubie Blake and vocalist/lyricist sound of the time period. But his Bud Powell-esque SSC 1450 - IN STORES NOW Noble Sissle, challenged the color line in important romp on “I’m Just Wild About Harry” seems to answer ways and showcased the likes of Florence Mills, Sissle’s gently taunting remark above: this is what the Adelaide Hall, Josephine Baker and Paul Robeson.
    [Show full text]
  • Influences on Gershwin
    Irving Berlin born Israel Isidore Baline Irving Berlin was born in Tyumen, Russia, on May 11, 1888, and immigrated to New York as a child. He would become one of the most popular songwriters in the United States, with hits like "Alexander's Ragtime Band," “God Bless America,” " Blue Skies,” “What’ll I Do" and "White Christmas." Berlin's film and Broadway musical work included Puttin’ on the Ritz, Easter Parade and Annie Get Your Gun. He died in New York City on September 22, 1989, at age 101. Irving Berlin was born Israel Baline on May 11, 1888, in the village of Tyumen, Russia. His family fled to escape the region's persecution of the Jewish community and settled in New York City in the mid-1890s. As a teen, Baline worked as a street singer, and by 1906 he had become a singing waiter in Chinatown. His first published tune was 1907's "Marie From Sunny Italy," with Nick Nicholson penning the music. As the lyricist, Baline's name was misspelled as "I. Berlin" on the sheet music. He decided to keep the name, becoming Irving Berlin • He group up in a home in lower Manhattan where Yiddish was the primary language spoken in the home • Most of his compositions were written using the 32-bar American Song Form Having a similar cultural background and upbringing, he served as a role model to both Ira and George Gershwin Musical Example: – Cheek to Cheek YIDDISH THEATRE & TIN PAN ALLEY INFLUENCES • George grew up around the Yiddish Theater District • They frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra • At the age of 15, Gershwin found his first job as a "song plugger" for Jerome H.
    [Show full text]
  • Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 10-17-2017 Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography" (2017). Faculty Publications: School of Music. 66. http://digitalcommons.unl.edu/musicfacpub/66 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 10/17/2017 Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. The documents are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012; rev. version, 2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases.
    [Show full text]
  • Teaching BROADWAY with Standards Resources
    The Wicked. he he T T ent R nd a can be found at can be found are international blockbusters. ’s triumphant re-imagining of ’s ats, Les Miserables C Jerry Herman, Jonathan , offers tickets at an astronomical $480 each, in rehearsal and opening on Broadway 2nd Street, Miss Saigon, Sunday in Disney leads an astonishing resurrection of ebber 4 , Julie Taymor aiter before leaving his job to create exclusive behind-the-scenes footage of Wicked home movies of Jonathan Larson working as a w ighlights include: ritish imports like arson, 2nd Street. The smash hit musical comedy L ● EPISODE SIX Putting It Together (1980–2004) B This program also features: David Merrick, Cameron Mackintosh, Andrew Lloyd W H ● With Producers Lion King and after 9/11, Broadway’s corporate dominance con- and after 9/11, Broadway’s tinues to grow with big-budget shows such as 4 the Park with George, La Cage Aux Folles, Rent, The Producers Phantom of the Opera for more information. for www.artsedge.kennedy-center.org/ www.artsedge.kennedy-center.org/ WICKED een music and other disciplines and understand- een music and other disciplines usic heater and Music T Theater Standards Education Theater National The following analyzing and cri- when using these materials: apply productions; analyzing the role of the- theater tiquing in the past and the present; and understanding ater to historythe visual arts in relation and cultures. school theater high about more information For to standards, go site. the Arts’ ArtsEdge Web the Kennedy Center for Go to M stan- Music Education’s for Association The National relationships include understanding apply dards that betw to historying music in relation and culture.
    [Show full text]
  • Sissle & Blake's Shuffle Along
    Sissle & Blake’s Shuffle Along New World NW 260 Shuffle Along was a miracle. In the spring of 1921 hardly anyone believed that a musical written, performed, produced, and directed by American blacks could be presented on Broadway. But on May 23 Shuffle Along opened at New York's 63rd Street Theatre, which was then part of Broadway, and promptly made theatrical history. The show restored authentic black artistry to the mainstream of the American theater. A daring synthesis of ragtime and operetta, it had an enormous impact on the development of the Broadway musical during its most vibrant years. It featured jazz dancing, was the first black musical to play white theaters across the United States, and was a vital part of the black cultural renaissance of the 1920s. The triumph of Shuffle Along and its creators, Noble Sissle, Eubie Blake, Flournoy Miller, and Aubrey Lyles, was a beacon of hope to every black artist in America. Blacks were never again systematically barred from the Broadway stage, as they had been in the decade before the play's opening. On the other side of the ledger, once Shuffle Along opened, white entrepreneurs used their power of the purse to mulct black artists. Today our musical theater is nearly moribund, but fifty-five years ago, when Shuffle Along opened, Broadway was a vibrant place, ablaze with the fires of ambition and aspiration. The shows of the period, marvels full of tunes and talents, pulsed with the excitement of those raw and energetic years. There were really zany comedians, beautiful showgirls, lavish costumes, and many wonderful singers and dancers.
    [Show full text]
  • Social Dance and Jazz, 1917–1935 Student
    Starr-Waterman American Popular Music Chapter 3: “Catching as the Small-Pox”: Social Dance and Jazz, 1917‒1935 Student Study Outline I. Technology and the Music Business a. Production and consumption of popular music influenced by new technologies i. Radio ii. Sound film iii. Microphone b. Radio network c. Sound film d. Licensing and copyright agencies II. “Freak Dances”: Turkey Trot and Tango a. Intensified influence of African American dance b. Turkey trot c. Tango III. James Reese Europe and the Castles a. Vernon and Irene Castle b. James Reese Europe (1880‒1919) IV. Listening Guide: “Castle House Rag” a. Music by James Reese Europe, performed by James Reese Europe’s Society Orchestra, recorded 1914 V. Jazz as popular music: The Original Dixieland Jazz Band, the Creole Jazz Band, and Louis Armstrong a. Jazz craze—next stage in the “African Americanization” of ballroom dance b. First recordings—made in New York City and Chicago (no studios in New Orleans at the time) i. Nick LaRocca (1889‒1961) VI. Listening Guide: Early Jazz Recordings a. “Tiger Rag,” written by Nick LaRocca; performed by the Original Dixieland Jazz Band, recorded 1918 i. Stoptime b. “Dipper Mouth Blues,” written by King Joe Oliver; performed by the Creole Jazz Band; recorded 1923 i. King Joe Oliver (1885‒1938) VII. Louis Armstrong a. Louis Armstrong (1901‒1971) i. Listening Guide: 1. “West End Blues” (1928): most important and influential recording 2. “Ain’t Misbehavin’” (1929): scat singing and humor in music VIII. Dance Music in the “Jazz Age” a. Jazz Age b. African American influence on musical tastes and buying habits of white Americans i.
    [Show full text]