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Center for Black Music Research: Black Music Research Newsletter Publications

Fall 9-1-1988

Black Music Research Bulletin Fall 1988

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Bulletin Fall 1988" (1988). Center for Black Music Research: Black Music Research Newsletter. 27. https://digitalcommons.colum.edu/cbmrnews/27

This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH

BULLETIN C B .\I R COLUMBIA COLLEGE CHICAGO Vol. 10, No. 2 ISSN 0898-8536 Fall 1988

Contents Looking Toward St. Louis: Installment 1

Black Music in St. Louis St. Louis, , will be the site McGinty, Harriet Ottenheimer, Na­ Looking Toward St. Louis 1 of the Center's 1989 National Confer­ than Pearson, Jr., Ann Sears, Warren ence on Black Music Research, to be Swindell, Trebor Jay Tichenor, Bruce Eddie Randle and the 1 held there during October 12-15, Tucker, and William Wiggins, all of t St. Loufa Blue Devils 1989. The following brief essays are whom will present papers at the con- Paul DeMarinis part of a preview of the research sub­ ference. Participating as members of in St. Louis 3 jects to be explored at the St. Louis panels will be Ben E. Bailey, Richard Trebor Jay Tichenor meeting. The spring 1989 issue of Crawford, Stanley Crouch, Donald Bulletin will carry other preliminary Funes, Willis Patterson, and Olly Wil­ essays as well as abstracts by Edward son. In the meantime, the first two Black Music in Berlin, Edith Borroff, Tilford Brooks, articles in this issue of Bulletin are William Dargan, Aaron Home, Doris samples of our offerings for St. Louis. and 5 His Impact on the New York Scene Leonard Goines and Mikki Shepard The Renaissance of 8 Eddie Randle and the the 1920s St. Louis Blue Devils Samuel A. Floyd, Jr. Corner: 10 by Paul DeMarinis, Webster Univers'ity, St. Louis Carman L. Moore Lucius R. Wyatt St. Louis was the home of a num­ drummers "Big Sid" Catlett and Jo ber of excellent black bands in Jones with Jeter-Pillars; trumpeter the 1930s and the 1940s. The Jeter­ Harold "Shorty" Baker and saxo­ Research Notes Pillars Orchestra, Eddie Johnson's phonist Tab Smith with the Cracker­ A Note on the Death Date of 14 Crackerjacks (later called the Original jacks; and trumpeter Oark Terry and Blind Lemon Jefferson St. Louis Crackerjacks under Chick saxophonist "Weasel" Parker with E. S. Virgo Finney), the George Hudson Orches­ George Hudson. Eddie Randie's Blue tra, and Eddie Randie's St. Louis Blue Devils, who are the focus of this arti­ Canadian Newspapers as 15 Devils were among the most re­ cle, also share with thes-e other bands Source Material spected St. Louis groups of this pe­ a certain obscurity typical of many Neil V. Rosenberg riod. All enjoyed local popularity and musical groups who recorded infre­ New Books Received: 18 featured outstanding sidemen: trum­ quently, or not at all, and who did Preliminary Reviews peter Harry "Sweets" Edison, bassists and , and Continued on page 2 2

Eddie Randle, continued

not often appear in entertainment capitals like Chicago or New York. Trumpeter Eddie Randle was born in Villa Ridge, Tllinois, near the Ohio River, on May 27, 1907. His early musical experiences were of an infor­ mal nature-he was taught how to read music by an uncle, and he sang at home and in a church choir. He moved to St. Louis in 1923 and began to play trumpet in 1924 at the age of seventeen. Randie's early experience on the trumpet coincided with an exception­ ally rich period for jazz trumpeting in St. Louis. Charles Creath fre­ quently appeared at Jazzland on \·, I ' ~ Market Street near Twenty-third Figure 1. Eddie Rantfle (right of microphone) and the St. Louis Blue Der:n1s Street, as well as on the Streckfus steamer S. S. Caflito/ with bandleader Photogroph courltsy of th• out/ror . Trumpeter Dewey Jackson was very active in St. Louis, Randle formed his first band in occurred during the band's first de­ appearing with both Creath and 1932. It included Joe Jarnigan and cade. Druie Bess (who had recorded Marable. Leonard Davis, who later Theron Slaughter on , in St. Louis with Jesse Stone's played in New York with the bands John Arnold on piano, Pete Patterson Serenaders in 1927 and who played of Charlie Johnson, , (who had recorded with Charles with Walter Page's Blue Devils from and Luis Russell, also worked locally Creath) on banjo, and Jesse Brazier 1929 to 1931) joined the band on with Charles Creath. A strong Louis on drums. The name subsequently trombone in 1935 and stayed until Armstrong disciple, Oliver Cobb, chosen for the group, "Eddie Randle 1938. A succession of trumpeters in who recorded for Brunswick and and his Seven Blue Devils," was cho­ the band included Cliff King, Vertna Paramount, was very popular in St. sen by Randle in a gesture of admira­ Saunders, Sykes Smith, Willie Moore, Louis until his untimely death by tion for one of his favorite bands, the Bob Johnson, ex-Jimmy Lunceford drowning in 1931. Oklahoma City Blue Devils led by sideman "Sleepy" Tomlin, Charles trumpeter Henry "Red" Allen was bassist Walter Page, whose radio Young, and Irving "Bruz" Woods. heard locally in the late 1920s with broadcasts were regularly heard in New faces among the saxophones in­ Fate Marable on the Streckfus river­ St. Louis. Randie's group was among cluded altoists Gene Porter and boats. , who played the first of St. Louis's black bands to Clyde Higgins, and tenor saxophon­ in St. Louis with Marable on the be heard on local radio, with Tues­ ists Ernie Wilkins, Grady Rice, and boats between 1919 and 1921, was day and Thursday noontime broad­ Cecil Thornton. In 1942 tenor saxo­ occasionally brought to St. Louis by casts beginning in the fall of 1932 on phonist (who would promoter Jesse Johnson to appear as station WEW. Randle most often later gain fame with a single at Jazzland in the late 1920s. played the first trumpet part in all and ) joined the band for A focal point in Randie's early mu­ his bands and left the improvisations an extended stay at the Club 400 on sical education was the tailor shop to his sidemen. Grand Avenue. Charles Pillars, the and shoeshine parlor his father Randie's bands spent most of the brother of ex-Alphonso Trent saxo­ owned at Garrison and Lucas Ave­ 1930s playing one-nighters at dance­ phonist Hayes Pillars, also played nues, which was a gathering place halls either in St. Louis or on the alto and baritone in the for the many musicians who often re­ road in Missouri, lliinois, Tennessee, band in this period. Pianists with the hearsed at the YWCA skating rink and Kentucky, with extended stays Blue Devils during this time included across the street. Randie's early play­ in Stephens Point, Wisconsin, in Robert Parker and Tommy Dean. The ing experience included sideman 1936; Dubuque, Iowa, in 1937; and bass players were George Brazier work with Jimmy Powell (whose Sodus Point, New York, on Lake On­ and Raymond Elridge. TC()nage bass­ band also included trumpeter El­ tario, in the summers of 1939 and ist Jimmy Blanton played with the wood Buchanan, who would later 1941. band occasionally before his discov­ teach ) and Warner Long. A number of personnel changes ery by Duke Ellington in 1939, and 3 alto saxophonist Tab Smith also Levi Madison. addition to his activities as a band­ worked as a substitute from time to While none of Randie's bands ever leader, Randle was also the treasurer time. recorded commercially, a private re­ for the then-segregated St. Louis In 1936 Randle coached student cording of the 1941, pre-Miles Davis black musician's union, Local 197, trumpeters at Sumner High School at band has survived among a few col­ during the late 1930s and early 1940s. the invitation of Major N. Clark lectors in St. Louis. It demonstrates a In summary, Eddie Randle has Smith, the music educator who had stylistic flexibility that must have made a significant contribution to the previously directed music at Lincoln contributed to the group's popular­ growth of jazz in St. Louis. As a High in Kansas City and who had ity. The band's book was a mixture trumpeter and teacher he influenced given basic musical training to some of original and popular tunes. many aspiring musicians who sub­ of that city's finest jazz musicians. In Among the bandsmen who arranged sequently established themselves in the 1930s Randle also tutored many for Randle were saxophonists Joe the field; as a bandleader, he devel­ young musicians who were junior le­ Jarnigan, Cecil Thornton, Ernie Wil­ oped his Blue Devils into one of St. gionnaires of the Tom Powell Ameri­ kins, and (in the Louis's most popular jazz bands of can Legion Post in St. Louis, includ­ 1950s); trombonist Buster Scott; and the 1930s and 1940s, featuring as it ing trumpeter Oark Terry. pianists Robert Parker and Tommy did a number of musicians who have During World War II, gasoline ra­ Dean. Dean was perhaps the most become influential in jazz in their tioning and transportation shortages successful of Randie's arrangers in own right. kept the Blue Devils off the road, and developing for the group a unique they began to play extensive engage­ sound that took into consideration BIBLIOGRAPHY ments at St. Louis nightspots like the the individual musical traits of the Club Rhumboogie at 200 N. Cardinal various sidemen in the band. One unusual instrumental combination Chambers, Jack. 1983. Milestones I: Tm music of Avenue and dancehalls like the Cas­ Miles V.:uis w 1960. New York: Beech Trees tle Ballroom at Ewing Avenue and used occasionally in the Blue Devils Books. Olive Street. In late 1942 or early 1943 was that of an alto horn (played by Chilton, John. 1978. Who's who cf jazz: Storym1l, Eddie Randle hired a high school Randle) blending with Charles w Swing•Strett. Philadelphia: Time-Life Re­ Pillars's baritone saxophone. cords Special Edition. sophomore from East St. Louis to re­ Feather, Leonard. 1960. Th, encyclopedia of jazz. place trumpeter Charles Young in his Randle stopped pursuing music as New York: Bonanza Books. band. The newcomer, Miles Davis, a full-time career in 1943 and eventu­ Hentoff, Nat, and Albert J. McCarthy. [19591 would subsequently become one of ally became a funeral director, a pro­ 1975. /•zz. New York: Da Capo Press. Menees, Charles. 1981. Fourteen blue roads to the great figures in postwar jazz. fession in which he is still involved St. Louis. J•zz Educotor's Jounu,l 8 (no. 2):10- Davis played regularly with the band in this, his eighty-first year. He con­ 12. for several years. A sectionmate at tinued, however, to front bands and Randle, Edward N. 1988. Oral history inter­ this time, trumpeter Bobby Danzy, to play trumpet until 1964. Among views, February 6 and Jllllle 8. Transcrip­ tions held by the author. shared Davis's modern orientation, the musicians who played with him Russell, Ross. 1971. Jazz style in Kansas City and and both shared a musical admira­ after World War II were saxophonists th, Southwest. Berkeley: University of Cali­ tion for another St. Louis trumpeter, Oliver Nelson and Willie Akins. In fornia Press.

Ragtime in St. Louis by Trebor Jay Tichenor, St. Louis, Missouri

A 1912 newspaper article in the In­ north in the 1893 black migration, as well as St. Lou.is. dianapolis Freeman polled the opinions some on their way to the Chicago Ex­ Some of the earliest syncopations of leading black entertainers and mu­ position (where the ragtime art may were heard in St. Louis's most lavish sicians about where ragtime origi­ have really fermented), but some on brothel, Babe Connors' Castle Oub. nated. The general consensus was St. their way to settle in St. Louis. A Local sports would "storm the castle" Louis, Missouri. St. Louis was cer­ "Black Bohemia" subculture devel­ to hear New Orleans singer Mama tainly a vital early center, but ragtime oped which provided a haven for Lou entertain with songs that, later was emerging everywhere across the itinerant ragtime pianists, the legend­ expurgated, became natfonwide hits. country, especially in the Midwest, ary "professors." Piano rag composi­ Such songs included "There'll Be a by the late 1890s. Black musicians tions first appeared in 1897 in Chi­ from the South had been coming cago, New Orleans, and Cincinnati, Continued on page 4 4 Ragtime, continued THE ROSEBUD BAR, Hot Time in the Old Town Tonight," Ta i ..11.flnf 7 I I "Ta Ra Ra Boom De Ay," and "Bully .... nae...... -. of the Town." One of the pianists working there was to become the ,.~ true father of St. Louis ragtime: ...... 1 Thomas Million Turpin, who is listed Cela•fl•11 1s,a. in the city directories as a musician as early as 1891. ~ Oisiriba&olllf That year Turpin opened his own AiJ' ...... saloon at No. 9 Targee Street, the Olcl RoUl I ,r• Sq heart of the early black sporting dis­ Aleo& ftef;OII• trict, recalled by both Arna Bontemps 0.-iJirear. • ,,.,, and W. C. Handy in their writings ...... ,.,. (Bontemps 1966; Handy (1941) 1970). Al.::- ...... ln 1897 Turpin's "Harlem Rag" was published by civic leader Robert De .. --~.,..,.,- .., .... Yong; it was the first rag by a black ...... , ,...... to be published in the ...... . Figure 2. Ad for the Rosebud Bar Targee Street was the site of the homicide that led a legendary local Reprinted from "First Street Forum Presents: Ragtime St. I.JJuis, A Nistory of Ragtime, 1897-1916" (St. Louis: First Street Forum, 1982). Permission courtesy of the author. pianist called Dooley to write "Frankie and Johnnie" (Hagen 1970, 363). Knifings and shootings were lighted by a ragtime piano competi­ 3818 Laclede Avenue. St. Louis was a commonplace in the district, and tion, won in 1904 by the legendary logical choice for a serious, legitimate Tom himself was involved in a pistol Louis Chauvin, "King of the Ragtime publisher. It had a deeply entrenched duel as reported in an 1898 St. Louis Players" (St. Louis Palladium October German musical culture with such Post Dispatch article ("A Duel to the 28, 1905). bastions of the classical art as The Death" 1898). A year later Turpin In 1900 the man soon to be de­ Kunkel Brothers Publishers. While wrote his second rag success, "Bow­ clared the "King of Ragtime many serious listeners shunned the ery Buck." Writers," Scott Joplin, moved to St. most popular ragtime styles, some In 1893 the magnificent new depot, Louis along with publisher John were a ready audience for classic rag­ Union Station, opened, and the sport­ Stark. "Maple Leaf Rag" (1899) and time of a higher quality. ing activity moved west to an area "Swipesy Cakewalk" (1900) had al­ Support for Joplin appeared as that became known as Chestnut Val­ ready been published in Sedalia, Mis­ early as 1901 from the most presti­ ley. Saloons, poolhalls, and bordellos souri, where Joplin pioneered classic gious musician in St. Louis, Alfred mushroomed on Market and Chest­ ragtime along with Arthur Marshall Ernst, director of the Stt. Louis Choral nut Streets between Eighteenth Street and Scott Hayden. In St. Louis Joplin Society. In a 1901 Post Dispatch arti­ and Jefferson Avenue; among them and his wife Belle moved into a flat cle, Ernst praised Joplin; he may also were the Pink Coat, the Dollar Bill, at 2658A Morgan (now Delmar). have taken him to Europe (''To Play the 200 Bar, the Eureka, the Gem, the Now known as ''1'he Joplin House," Ragtime in Europe" 1901). Owl Saloon, and others. But the this building is on the National Reg­ St. Louis became the center of music mecca was the Rosebud Bar at ister of Historic Places and is under world attention with the opening of the comer of Twenty-second and renovation by the state to be opened the Louisiana Purchase Exposition in Market Streets, opened by Turpin in as a ragtime museum in the near fu­ 1904. But ragtime was banned to the 1900. Advertised in the St. Louis Pal­ ture. In 1903 Joplin rented larger Pike, the midway entertainment area ladium newspaper (November 28, quarters at 2117 Lucas Avenue. Here of the fairgrounds, because the city 1903) as "The Headquarters for Col­ he lived quietly as a composer, fathers were afraid that ragtime ored Professionals," the Rosebud ran teacher, and occasional performer might take too much attention away night and day (see Fig. 2). Turpin until he left in 1907 for Chicago and, from other official World's Fair con­ had the piano up on blocks so that later, New York City (Blesh and Janis certs. In the various emporiums the professors had to stand and 1950, 231). along the way, however, ragtime lov­ play-no "hogging the stool" here. John Stark opened his business ers could hear such pioneers as Ar­ By 1902 Turpin had instituted the originally at 210 Olive Street but later thur Marshall and Louis Chauvin Rosebud Club Annual Ball, high- settled permanently farther west at playing. Joplin celebrated the fair 5

with his "Cascades" (1904), which the old Rosebud. It was here that en­ concert series at Washington Uni­ Stark promoted as "The Masterpiece tertainer Josephine Baker, raised in versity's Edison Theater and at the of Scott Joplin." (Tom Turpin had Chestnut Valley, got her start. In 1918 newly renovated Union Station in the been early with his "St. Louis Rag" of Turpin wrote and published a World heart of what was on~ the old dis­ 1903, the year the Expo was origi­ War I song that became a local hit, trict. Young Audiences, Inc., features nally planned to open.) "When Sambo Goes to France." The the St. Louis Ragtime Trio in school The Turpin brothers, Tom and lyrics of the verse are a reminder of concerts, and t_he St. Louis Ragtimers Charles, were expanding their enter­ black military involvement in United have helped keep ragtime alive since tainment business on Market Street. States history. With the war, the rag­ 1961. Ragtime history is taught at Early tent shows led to the estab­ time era came to an. end. Washington University. And Font­ lishment of the Booker T. Washing­ By 1922 both Turpin and Joplin bonne College and the St. Louis Rag­ ton Theatre, which became a major were gone, and the Stark press was time Center hold an annual ragtime enterprise, eclipsing the Douglass no longer acquiring new composi­ piano competition for youngsters. Lo­ Theatorium of earlier years. Bert Wil­ tions, though the indomitable John cal nighteries such as the Lt. Robert liams, , , and Stark kept the business open until his E. Lee riverboat feature ragtime on a all the major black entertainers on the death in 1927. regular basis. Once known as the circuit played the Booker T. (Blesh In the 1930s Market Street was ren­ "Capital of Ragtime," St. Louis has and Janis 1950, 58). ovated. Kiel Audito:rium was built on rediscovered her rich ragtime past. The ragtime piano contests contin­ what was once Targee Street. And ued here into the early 1920s. New with the Mill Creek Redevelopment REFERENCES players like Charles Thompson were Project of the 1960s, the original developing a faster, more hectic style buildings in the old Chestnut Valley Blesh, Rudi, and Harriet Janis. 1950. They "11 leaning towards jazz. Mter winning a were demolished, as had been the played ragtime. New York; Alfred Knopf. marathon contest, Thompson finally case with New Orleans's Storyville Bontemps, Arna. 1966. They suk a city. Rev. ed. faced Turpin and defeated him in district. New York: Hill & Wang. A duel to the death. 1898. St . Louis Post Dis­ 1916. The old cakewalk and two-step Today ragtime is alive and well-es­ patch February 15:10. were being replaced by the one-step tablished as a vital St. Louis musical Hagen, Harry M. 1970. This is our St. Louis. St. and the fox trot. Jazz dancing became heritage. Another national landmark, Louis: Knight Publishing Co. popular. the Goldenrod Showboat has hosted Handy, W. C. (1941) 1970. Fo.ther of the bllllS. New York: Collier. Moving with the times, Turpin an annual ragtime festival for To play ragtime in Europe. 1901. St. Louis Post opened Jazzland one block west of twenty-four years. There have been Dispatch February 28.

James Reese Europe and His Impact on the New York Scene by Leonard Goines, Manhattan Community College and and Mikki Shepard, Academy of Music

With the turn of the century came impact far exceeding his wildest ex­ entertainer's scene and became a the spirit of social rebellion. And no pectations. Becoming a part of both member of the Marshall Hotel crowd black musician was better suited to the symphonic orchestra phenome­ (Johnson 1930, 120). Marshall's, a the mood of the times than James non and the popular dance craze small hotel on West Fifty-third Street, Reese Europe. Bandleader, composer, sweeping New York, Europe towered was then famous as the New York businessman, and organizer, he was over the second decade of this cen­ headquarters for black talent. Shortly truly the black musician's man of the tury with such intensity that his im­ thereafter, Ernest Hogan, one of the hour. Though he was born in 1881 in pact was felt directly and indirectly most popular black entertainers of Mobile, Alabama, and raised in for years to follow. In many ways he the time, asked Europe to write Washington, D.C., Jim Europe was a synthesized the artistic moods and music and help rehearse the band for New Yorker through and through. attitudes of the tum of the century a variety show that he was putting Classically trained on piano and vio­ and pointed them in the direction of together. This group of about twenty lin, he arrived in New York in 1904 the of the 1920s (F1etcher musicians, singers, and dancers be­ with familiar thoughts of taking the 1954, 251-263; Welburn 1987). came known as "The Memph.is Stu­ big city by storm. Little did he know Though Jim Europe's first employ­ dents," though none were students at the time, however, that his pres­ ment efforts in New York were dis­ ence would ultimately have a lasting appointing, he melted into the black Continued on page 6 6

James Reese Europe, continued of the Clef Club orchestra in a con­ which Jim Europe was a product, cert of the new black music at a con­ was a very exciting period for black and none were from Memphis. Using cert in . The crowded music and dance all over the United an unusual combination of mando­ hall went wild with enthusiasm; and States. Ragtime was flourishing, min­ lins, banjos, guitars, drums, saxo­ the syncopated music that helped strelsy was waning, black musicals phones, and other wind instruments, touch off a dance craze had arrived were popular, jazz was just emerg­ they played syncopated music and in full bloom. In 1913 Europe re­ ing, modem gospel music was incu­ were given star billing at Hammer­ signed from the Clef Club and bating, and Tin Pan Alley was in full stein's Victoria Theater on Broadway. formed the Tempo Club. Both orga­ flower. In addition, the music and This successful show has been called nizMions served the combined func­ dance of the country and the city, of the first public concert of syncopated tions of black musicians' union and white and black, of sacred and secu­ music Qohnson 1930, 118-123). contracting office. It was probably as lar, on all levels, were in mutual in­ Following this period with the this type of organizer that James fluence (Wish 1962, 296--298). Ed uca­ Memphis Students, Jim Europe Reese Europe served his greatest role tionally, a well-prepared group of served, from 1906 to 1908, as musical (Johnson 1930, 123-124; fletcher black college graduates was waiting director of the touring company of 1954, 252-264). to make their imprint. And politi­ Cole and Johnson's Shoo-Fly Regiment Though Jim Europe was evidently cally, it was the time of the Atlanta and of &rt Williams's Mr. Lode of a capable conductor and composer, Compromise, which touched off the Kole. By 1909 he was back in New we are inclined to believe that seren­ Booker T. Washington-W.E.B. Du York leading a small dance band, dipity played more than a minor role Bois dialogue. This was the setting giving piano lessons, and working as in his overall success. His ultimate that James Reese Europe inherited­ an accompanist. talents or gifts might well have been the palette with which he had to At the age of twenty-nine, after his business acumen, a flexible out­ work. several lukewarm years in the field, look, and an uncanny ability for To quote Eubie Blake again: Jim Europe sensed that the black being in the right place at the right musicians' problem, in part, was an time. Europe's pragmatic approach, Jim Europe was the biggest influ­ almost complete lack of organization. it seems to us, enabled him to make ence in my musical career. He was Due to minstrelsy's decline and the connections and to see marketing just something that had to happen possibilities unseen by many of his in America. He was at a point in accompanying drop in emplt>yment time at which all the roots and race-conscious colleagues. He pos­ opportunities for black entertainers, forces of Negro music merged and only and a few other sessed the ability to sense clearly all gained its widest expression. And he black celebrities were participating in of the forces that were converging furnished something that was nccd­ America's entertainment mainstream. around him and to use them to the ed in time (Carter 1979, 88). Most other black performers played advantage of black music and black solely to black audiences. musicians. By doing so he inspired In several ways this period could Jim Europe felt strongly that black many black entertainers to pursue be viewed as the beginning of our musicians and entertainers needed to new goals and directions (Fletcher country's entry into the modern age. organize and begin to market them­ 1954, 255-264). One of the most fertile periods in selves and their product more effec­ Eubie Blake, who along with America's cultural history, it was de­ tively if they were to become success­ Noble Sissie worked with James fined by a breaking away from long­ ful. In order for this to happen, he Reese Europe, had the following to cherished Victorian customs and lra­ concluded, the black impact on say in this regard: di tions and by a freshly honed will­ American popular entertainment ingness to experiment with the new To colored musicians he was as im­ would have to be understood and portant-he did as much for them in everything from art forms to heralded. He sought more than the as Martin Luther King did for the human relations. Historians of paint­ popular stereotypes generated by rest of the Negro people. He sct up a ing, of dance, of social science, of minstrelsy, ragtime, and coon songs. way to get them ,obs-the Clef popular music, and of almost every He visualized a medium that would Club-and he made them get paid other field have presented the second enable him to present black music more. He tried to get as much for decade of this century as a time of with dignity. them as whites, and sometimes he drastic innovation (May 1959, xi). In 1910, with all these things in could and sometimes he couldn't. By the year 1911 New York City mind, Jim Europe gathered black And all the rich white people loved was al ready a sprawling metropolis professional musicians into a char­ him. He used to get all the jobs for and major cultural center with a pop­ tered organization, the Oef Club, those millionaire parties, and of ulation of almost four million. course we went along (Rose 1979, which was to supply bands for pri­ 57). The increasing tempo of life in a vate society parties. In the spring of mechanized and industrial society 1912 Europe conducted 125 members The tum of the century, the time of was manifesting itself in the music 7 and dance of the time, and more re­ rhythmic. Vernon Castle once said million people lined the streets of laxed social standards were just be­ that James Reese Europe's orchestra New York to hear the emergent ja.zz coming fashionable. was the only group that could play and to catch a glimpse of Lieutenant After 1910 black music and black the music for some of his dances. Jim Europe's 369th "Hellfighters" dance began, more and more, to be Consequently, when Europe's orches­ band. The parade was just one more absorbed into the mainstream of tra was not available, those dances conquest in a fantastic series of American life. In 1911, for example, had to be omitted ("Europe and the events that were busily making Jim Irving Berlin's "Alexander's Ragtime Castles" 1914, 1). Europe and his musicians interna­ Band" with its infectious beat was so James Reese Eu.rope had the fol­ tionally famous. Forever the cham­ successful that a cry went out to Tin lowing to say about his orchestra and pion of black music and black musi­ Pan Alley for similar tunes in the its members: cians, Jim Europe stated: same tempo. At the same time a suc­ "I have come back from France more cession of new dances became popu­ The members of the orchestra are all members of my staff of dance musi­ firmly convinced than ever that ne­ lar. cians who play at most of the princi­ groes should write neg:ro music. We "By the fall of 1913," says Irene pal hotels and at private dances in have our own racial feeling and if Castle, "America had gone absolutely this city and out of town. I also fur­ we try to copy whites we will make dance-mad." She continues: nish the dance music for the resorts bad copies.... We won France by at Aiken, Palm Beach, and other playing music which was ours and The whole nation seemed to be di­ places, and frequently send men to not a pale imitation of others, and if vided into two equal forces, those play at weekend parties and special we are to develop in America we who were for it and those who were dances in country houses.... I re­ must develop along our own lines against it, and even the champions ceive requests for dance musicians ("A Negro Explains Jazz" 1919, 28). of the cause had to compromise to from all over, even from Europe, be­ stay in business. When "ragtime" cause our men are well trained and One month after their triumphant swept the country the one-step came instinctively good musicians. The return to the United States, the "Hell­ right along with it, killing off the negro plays ragtime as if it was a fighters" b~d embarked on a world­ waltz and the two-step. A list of the second nature to him-as it is wide tour. A few days after the two popular dances of the time reads like ("Negro's Place in Music" 1973, 61). opening concerts at the Manhattan a table of contents for a zoo, with the Opera House, Pathe Records made Jim Europe's star ascended with Turkey-Trot, the Grizzly Bear, the the following announcement: Bunny Hug, the Camel Walk and that of the Castles. By April 1914 the the Lame Duck (Castle 1980, 85). Castles, along with Europe's eleven­ Another big scoop for Pathe! Lt. Jim piece society orchestra, were ready Europe, 'The Jazz King," and his fa­ Irene and Vernon Castle were a for a tour of thirty-two major Ameri­ mous 369th U.S. Infantry "Hellfight­ young, white, clean-cut, married, can and Canadian cities. In Novem­ ers Band" are now recording exclu­ completely acceptable couple who ber of that same year, Europe said, "I sively for Pathe records. The famous shared Jim Europe's ambition and myself have written probably more overseas band is now making a tri­ of these new dances than any other umphant tour of the country from penchant for filling a demonstrated Maine to . Everybody is need. Together this trio was responsi­ composer, and one of my composi­ wild about the lively jazzing and ble for a near revolution in American tions, 'The Castle Lame Duck Waltz,' syncopated rhythm.... The first re­ dance and popular music. Though is perhaps the most widely known of cords will be released. about April the Castles were not innovators in any dance now before the public" 20, 1919 (quoted in Cha.rters and the true sense of the word, they ("Negro Composer on Race's Music" Kunstadt 1962, 70). served a catalytic function and, with 1914, 7). the help of Jim Europe as their musi­ When America entered World War During the fifteen-year period from cal director, made social dancing I, Jim Europe was commissioned a the time of his arrival in New York to popular on all levels of society (Mor­ lieutenant and appointed bandmaster the time of his death in 1919, Jim Eu­ ris 1951, 321). of the 369th Infantry Band. His tour rope had completely changed the The Castles had good reasons for of duty with this black regiment musical climate of the city. In the wanting Europe's orchestra to pro­ brought him even greater fame as he process he brought new prestige and vide the music for their perform­ introduced America's new synco­ employment opportunities to black ances. Not only was it the most fa­ pated music to European audiences. entertainers and a new respect for the mous orchestra of its kind, it was James Reese Europe and his "Hell­ black American music and dance composed of skilled musicians who fighters" band returned to the United forms that were busily transforming could both read music and swing. States as national heroes after the American culture. Compared to 'the polite dance music war. that preceeded it, Jim Europe's music On a mid-February morning in was raw, captivating, and relentlessly 1919, a crowd of approximately a Continued on page 8 8

Negro's place in music. 1973. In Reminiscing James Reese Europe, continued Europe and the Castles and Tempo Oub Af­ fair. 1914. Tht New York Age October 15:l. with Sissie and Blake, Robert Kimball and REFERENCES Fletcher, Tom. 1954. 100 years of the Negro in William Bolcom, 60-61. New York: Vi.king show business. New Yo1k: Bwdge and Co. Press. (First published in the New York Eve­ Johnson, James Weldon. 1930. Black Manhattan. ning Post March 13, 1914:7.) Carter, Lawrence T. 1979. Eubie Blake: Keys of New York: Alfred A. E

The of the 1920s

by Samuel A. Floyd, Jr., Center for Black Music Research, Columbia College Chicago

The race-conscious artistic and cul­ of European culture. Traditional Eu­ belted the blues-sometimes accom­ tural movement that took place in ropean musical conventions were put panied, sometimes not. A few were Harlem and elsewhere during the pe­ to the service of Afro-American mu­ fortunate enough to attend school riod from about 1917 to 1934 is de­ sical expression to create new and be trained as concert musicians, scribed variously as "Harlem Renais­ forms-notably jazz piano, as it as were , William sance," "Negro Renaissance," and emerged from the eastern ragtime Grant Still, and Hanry Lawrence "New Negro Movement." The phe­ style, and a true American musical Freeman, for example. All, or at least nomenon flourished several decades nationalism, as it would appear in the best of these, constituted a cadre after emancipation when Afro­ the works of , of highly talented musicians who Americans sought to build a culture. Florence Price, William Dawson, and would virtually change the world's Most of the thought of the movement others. musical tastes. stressed the merging of Western Eu­ Although black musicians had In the popular arena works were ropean artistic values with those of been performing music since their ar­ produced that had a terrific impact the Afro-American heritage. Thinkers rival in the New World, it was the on American culture, in spite of the such as W.E.B. Du Bois, Alain Locke, freeing of Afro-Americans from slav­ fact that many of them were frowned and others encouraged musicians of ery in 1865 that made it possible for upon by polite society. Among these the period to attend and present con­ large numbers of them to use their works were Scott Joplin's "Maple certs of European music, to compose talents as professionals. With Eman­ Leaf Rag"; Jelly Roll Morton's rag­ extended compositions based on cipation, a large number of black time/jazz piano; King Oliver's Creole Afro-American blues, , and minstrel companies developed, num­ Jazz Band; Louis Armstrong's phe­ other folk themes, and generally to bering among their casts musicians nomenal improvisations.; James Reese exploit Afro-American music for the as well as actors. In some southern Europe's various "syncopated" or­ purpose of building musical "high cities, particularly in New Orleans, chestras and his Clef Oub organiza­ culture." large numbers of brass bands were tion; Will Marion Cook's New York Although there had been much formed, many of them connected Syncopated Orchestra; Ford Dab­ creative activity among black musi­ with lodges and other social and be­ ney' sand Will Tyer's composing, ar­ cians in New York throughout the nevolent organizations. Street musi­ ranging, and conducting for the 1800s, the migration of many south­ cians multiplied, some as sellers of Ziegfeld enterprises; tthe traveling ern musicians to the city in the first wares, others as straight entertainers. shows of the Rabbit Foot Minstrels, decades of the new century to join Many musicians became itinerants, Silas Green from New Orleans, and those who had already established moving among and between towns, other minstrel groups; and the black themselves there brought new vital­ logging camps, and turpentine Broadway productions of the late ity to the music. This infusion of new camps. The pianists played in honky­ 1800s, including Will Marion Cook's musical perspectives suggested pos­ tonks, barrelhouses, and other ven­ Clorindy, or The Origin of the Cakewalk sibilities that were quickly exploited ues in which boogie woogie and rag­ (1898). Such activity laid the founda­ by creative black musicians who time piano styles would ferment and tion for the music of the Harlem Re­ were not bound by the conventions develop. The singers moaned and naissance. 9

Traditionally, the Renaissance has been considered primarily as a liter­ ary movement, since nearly all of the 1925 SEASON 1926 writing about it has focused on the poets and other writers of the period. Harlem Symphony Orchestra But music provided much of the movement's ambiance, it had an in­ B. Gil.BERT ANDERSON, Conductor AlllE ROSS, Associate Conductor fluence on many of the literary artists Solist: FELIX F. WEIR, Violinist of the time, and it even helped to de­ fine the period. Interactions among Third Symphony Concert the musicians and the literary and vi­ Sunday Afternoon, December 27, 1925 sual artists of the period were more intense and productive than is usu­ ally assumed, as evidenced, for exam­ Programme ple, by the writings of Langston I. OVERTURE, "Der F:reischutz" Carl Mari& von Weber Hughes (especially his "blues 2. SYMPHONY No. I, in C Major, Op. 21 Ludwigv&nlleethoven poems"), Zora Neal Hurston, James I. Adagio molto, Allegro coo brio Weldon Johnson, and other poets, 2. Andante CanlBbile and the images of painters Archibald 3. Menuetto, Allegro vivace Motley and Aaron Douglas and 4. Adagio, Allegro molto Intermission sculptress May Howard Jackson. These literary and visual artists de­ 3. SCENES fROM AN "IMAGINARY BALLET" Samuel Colmdge Taylor I. Molto vivace rived inspiration and mood from the 2. Allegretto feverish musical activity that marked 3. Minuetto the Renaissance period in New York. 4. Andantino Jazz was continuing to develop and 4. VIOLIN SOLO, Concerto in E Minor Ftlix Mendelssohn was being performed everywhere. In (For Violin and Orchestra) the jazz world the Fletcher Hender­ Andante son and Duke Ellington orchestras Allegro Felix F. Weir were entertaining Harlemites and other New Yorkers, creating a new 5. OVERTURE, "Me!T)' Wives of Windsor" Otto Nic:olai music and setting the stage for the These Concerts begin at 3:30 . There were the Harlem pi­ anists--, James P. NEXT SYMPHONY CONCERT: SUNDAY AFTERNOON, FEBRUARY 14, 1926 Johnson, Willie "The Lion" Smith, , and others--sharpening their skills on the rent-party circuit and virtually creating jazz piano. musicals of the period produced hits milieu of creativity and high produc­ Spirituals were being sung on the such as Eubie Blake's "Love Will tivity. recital programs of concert artists Find a Way" and '1'm Just Wild Composers wrote extended works such as Roland Hayes, Paul Robeson, About Harry," Fat's Waller's "Ain't in the European tradition. There was , and Jules Bledsoe, Misbehavin'," and James P. Johnson's Charlestonia by Edmund Jenkins, and by choirs such as those led by "Charleston," among others. In addi­ Darker America and other works by , , and Cecil tion, the musical activities and contri­ William Grant Still, The Chariot Jubilee Mack. Gospel music was in the store­ butions of musicians Will Marion by Robert Nathaniel Dett, the operas front churches of northern cities, with Cook, , Luckey Roberts, of Harry Lawrence Freeman, compo­ songs such as "Take My Hand, Pre­ , Cecil Mack, Ethel sitions by , cious Lord/' "Peace in the Valley," Waters, Louis Armstrong, and Bessie Harry T. Burleigh, and a host of other and other works by Thomas A. Dor­ Smith, of showmen such as the team works, many of which won the com­ sey taking hold in black Baptist of Flournoy Miller and , position prizes of the day. churches. of dancers such as Bill "Bojangles" The Harlem Symphony Orchestra, Black musicals were presented on Robinson, the team of Buck and Bub­ the Negro String Quartet, and pia­ Broadway for the entire decade of the bles, and of a host of other musicians nists such as Hazel Harrison played twenties, beginning with Shuffle and entertainers all demonstrated to Harlem concert audiences. There Along in 1921 and including Runnin' that the worlds of the concert hall, were also collaborations such as that Wild (1924), Keep Shuff/in' (1928), and cabaret society, Broadway, and the Hot Chocolates (1929). These and other Harlem community interacted in a Continued on page 10 10

Harlem Renaissance, continued been underestimated by some schol­ cant new finds, including some of ars and ignored by others. Some say the manuscripts of the prize-winning which resulted in the presentation of that there was no Harlem Renais­ musical compositions ot the period the 1927 Carnegie Hall premiere of sance. Whatever one's position on that have been assumed lost forever. James P. Johnson's Yamakraw, a rhap­ the value or the existence of such a sody for orchestra and piano. John­ movement, it is certain that the art son composed the work, William and the aesthetic philosophy of the REFERENCES Grant Still orchestrated it, Fats Wal­ period have been sources of inspira­ ler played the piano solo, and Wil­ tion and also a nurturing cauldron Floyd, Samuel A., ed. Black Music 4'nd tht liam Grant Still conducted the Har­ for the creative power of many musi­ Ntgro Renaissmu:t. Westport, Connecticut: lem Symphony Orchestra in the per­ cal, literary, and visual artists in suc­ Greenwood Press, forthcoming. Lewis, David Levering. When Harltm Was In formance. ceeding decades. Additional research Vogut. New York: Alfred A. Knopf, 1981. The importance of the Harlem Re­ about the contribution of music to Southern, Eileen. Tht Music of Black Amtriazns. naissance in American culture has the movement should yield signifi- 2nd ed. New York: W.W. Norton, 1983.

Composers Corner Carman L. Moore by Lucius R. Wyatt, Prairie View A & M University

Carman L. Moore (b. 1936) is one chestras in the United States, includ­ French horn. He also became an avid of several composers who are active ing the New York Philharmonic, tennis player and a member of the in New York City today. Embodying American Symphony Orchestra, high school tennis team. Later, in the various mu.sical styles prevalent Cleveland Orchestra, San Francisco New York, he became friends with in contemporary American music, his Symphony, Rochester Philharmonic, the actor Robert Redford through his music has an electricity and energy Kansas City Philharmonic, and the interest in tennis. that will captivate the average lis­ Brooklyn Philharmonic. His musical In 1958 he completed the baccalau­ tener. Currently, he composes and works have been premiered in New reate degree in music at Ohio State conducts his group called the Sky­ York City at the Judson Memorial University, where he played the music ensemble, which consists of Church, Alternative Museum, and French horn in the mar-ching band, nine instrumentalists who read from the Lenox Arts Center. He has re­ concert band, and symphony orches­ a full score and frequently improvise ceived many favorable reviews of his tra. He occasionally played French in the course of Moore's composi­ compositions by some of America's horn in the Columbus Symphony. tions. The players in the ensemble leading music critics. After moving to New York Moore re­ are all well-known and seasoned per­ Moore was born in Lorain, Ohio, ceived the master's degree in compo­ formers, such as Kenneth Bichel (syn­ and he grew up in Elyria, Ohio. An sition from the Juilliard School of thesiz.er), Gordon Gottlieb (percus­ important early musical influence Music (1966). At Juilliard his compo­ sion), Leroy Jenkins (violin), Eric was his mother, who had studied sition teachers were Hall Overton, Johnson (piano and synthesizer), with Beryl Rubinstein. She per­ Vincent Persichetti, and Luciano Katherine Hay (flute), and Sam Riv­ formed in their home pieces from the Berio. He valued his association with ers (saxophone). Each mus1c1an nineteenth-century repertory as well Overton because he was a fine com­ brings to the ensemble unique per­ as compositions of Duke Ellington. poser as well as a competent jazz pi­ forming experiences ranging from Moore feels that he was naturally at­ anist. Berio inspired him to take avant-garde jazz and classical music tracted to art music because, "I could chances in music composition. Score to electronic, commercial, and con­ see the notes in my mind. Because studies and analysis were with Ste­ temporary art music. In addition to classical music is a written music, I phen Wolpe. conducting the ensemble, Moore par­ knew that was where I belonged." Moore has held teaching appoint­ ticipates in the improvisation. During his high school years he ments at the Dalton School, Yale Uni­ His compositions have been per­ worked at a butcher shop to pay for versity, Queens College, Brooklyn formed by some of the leading or- a trumpet. He later took up the College, New York University, La 11

Guardia College, the New School for The performance began on the East Social Research, and Manhattanville River with trumpets led by Gerard College. Schwarz and ended at the United He has served on various arts pan­ Nations esplanade with the American els, including the National Endow­ Brass Quintet and Kenneth Bichel on ment for the Arts, the MacDowell synthesizers. Other works premiered Colony, Meet the Composer, Ameri­ at the festival were his Saxophone can Music Center, American Music Quartet (1978) and Follow Light (1977), Theatre Festival, and the Experimen­ the latter performed by the La tal Intermedia Foundation. His ad­ Guardia College Choir. ministrative experience includes posi­ In recent years Moore has been an tions as the Associate Director, with articulate spokesman on the subject Gian Carlo Mennoti, of the Harlem of black American music. He was one Opera Theater and Workshop (1968- of the main speakers at a symposium 1969); as the Director of the Lenox on African and Afro-American music Arts Center Chamber Music Festival at the University or Ghana in 1972. (1978); and as the Composer and He spoke at the National Conference Director of the American Dance on Black Music Research at Fisk Uni­ Carman L. Moore Festival Young Composer/Choreog­ versity in 1980. The La Guardia Col­ Photography cO'Urtesy of the composer rapher Program (1986-1987). lege Festival included a dialogue Moore's literary pursuits have been with Moore as the chief presenter on as interesting as his musical activi­ the subject of "The Role of the Com­ uary 22 and 23, 1975, respectively. ties. From 1965 to 1974 he served as poser in America Today." 's reaction to music critic for the Village Voice. His Among Moore's compositional Moore's successes is embodied in the articles and reviews have appeared output, one finds a broad range of title of an article by Donal Henahan in the New York Times, Saturday Re­ creativity. There are compositions for (1975): "This Week's Most Wanted view, Vogue, Essence, Eye, Collier's En­ orchestra, numerous works for in­ Composer: Carman Moore." cyclopedia Annual (1969-1972), and Af­ strumental ensemble and chamber Another successful piece for or­ rica Report. He has written two books: groups, vocal compositions, and cho­ chestra is Hit: A Concerto for Percus­ Somebody's Angel Child: The Story of ral works. Moore has composed sion and Orchestra, commissioned by Bessie Smith (Thomas Y. Crowell, music for ballet and the dance as the Rochester Philharmonic Orches­ 1969) and Rockit: Music Teaching well as incidental music for plays. tra in 1978. The five-player percus­ Method (Alfred Music Corporation, His interest in multimedia composi­ sion group Nexus participated in the 1980). One of his best-known tion is represented by such pieces as premiere of this work with a large as­ writings is his r:esponse to two letters Fixed Do: Moveable Sol, for instrumen­ sortment of percussion instruments. that appeared in the New York Times tal ensemble, dancers, and slides The Sorrow of Love, for double choir in 1969, "Does a Black Mozart-or (1980), and Sky Dance/Sky Music, for and piano (1984), is an intriguing Stravinsky- Wait in the Wings? instrumental ensemble, dancers, and composition because of the (Black Art Music)" (Moore 1971). sculptor (1984). His Sonata: Variations composer's fresh approach to writing Moore has been associated with for Mandolin and Piano (1983) is be­ for voices. In this piece we hear jazz­ pop and rock music for several years. lieved to be the first American sonata like sonorities, dissonant structures He has written rock lyrics for more for the mandolin. His Concerto for and spoken words in a polyphonic than a dozen songs, including J Can Blues Piano and Orchestra (1982) was texture. Equally as interesting is the Remember, Light of My Life, and the premiered by jazz pianist Jay striking piece written for the Sky­ title song on the Foghat album Rock McShann and the Kansas City Phil­ music ensemble, Concertos (The Theme 'n' Roll Outlaws by Felix Cavalieri. harmonic Orchestra. There are also Is Freedom) (1985). This work is Peter Yarrow, of the singing group works for the piano and several mu­ written in three parts which are sub­ Peter, Paul and Mary, studied theory, sicals. titled "Gypsy Mount," "Passacaglia," composition, and arranging privately The year 1975 was important in and "Soweto." with Moore in New York. Carman Moore's life. He received As to his approach to music com­ Because of his success as a com­ commissions from Pierre Boulez, of position, Moore was quoted in News­ poser, La Guardia College honored the New York Philharmonic, and Seiji week as follows: "There are several Moore in a month-long festival of his Ozawa, of the San Francisco Sym­ kinds of music screaming in my music in May of 1978 (Rossi 1978). phony, for major . head, and there must be a way for all One of the interesting works per­ The compositions Gospel Fuse and of them to come out at the same formed in the ,course of the festival Wildfires and Field Songs were pre­ was his Dawn of the Solar Age (1978). miered by the two orchestras on Jan- Continued on page 12 12

Carman Moore, continued The music of Carman Moore is strumental ensemble, dancers, and available from Peer-Southern, New slides. York. Flight Piece (1969), for flute and time" ("Double Header" 1975). His piano. statement is testimony to his interest The Illuminated Workingman (1975), in many types of music: jazz, gospel, The Music of for woodwinds, percussion, 4 cel­ pop, rock, and Afro- and European­ Carman L. Moore los, tape, film, and 25 dancers. American concert music. Moore com­ Images and Bodies Moving (1970), for ments, "My composing style has flute, electric bass, African xylo­ evolved drastically over the years, Orchestra phone, jew's-harps, and assorted but the basic philosophies (taught by Concerto for Blues Piano and Orchestra percussion instruments. my first teacher, the late Hall Over­ Journey To: Journey Through (1987), for ton) have not. I seek to keep turning (1982). Concerto for Jazz Violin and Orchestra instrumental ensemble. up fresh pitches and chords. I like to Memories (1967), for instrumental en­ take the listener with me into the (1987). Four Movements for a Fashionable Five­ semble. workings of my pieces, so I like to A Moveable Feast (1980), for instru­ show relatively simple building Toed Dragon (1976), for orchestra, jazz quintet, and Chinese instru­ mental ensemble. blocks and procedures early in a A Movement for String Quartet (1963). piece and then set out to dazzle the ments. Gospel Fuse (1974), for gospel quartet Museum Piece (1975), for flute, cello, ear with how much they can be and tape. made to do as the work unfolds. I (SSSA), soprano, saxophone, piano, electric organ, and orchestra. Music for Flute Alone (1981), for flute, might work from a basic set-up of piano, , and tape. pitches but will abandon it or totally Hit: Concerto for Percussion and Or­ chestra (1978). Nine Fanfares for Brass (1966). aiter it when a more vital sound ad­ Old Wars (1982), for instrumental en­ venture seems to evolve. I like to Saratoga Festival Overture (1966). Symfonia [sic] (1964), for chamber or­ semble. suggest the known and then slide off Percussion Form for Two Players (1965), into some foreign adventure just as chestra. Wildfires and Field Songs (1974). for vibraphone, tom-toms, snare validly implied by the di.rection the drum, bass drum, gong, cymbals, listener may have been expecting. I Chamber Works and assorted percussion instru­ see shapes, shadows, and Hght inten­ ments. sities and perceive relative weights as American Themes and Variations Pipe Dream and Aria (1983), for pic­ analogs to forms in my pieces. In (1980), for instrumental ensemble colo and pan pipes. short, I am a pretty intuitive com­ and narrator. Quintet for Saxophones and Electronic poser. My basic compositional ap­ August Harmonies (1988), for flute Echo Device (1978). proach has been to absorb the basics and organ or piano. Righteous Heroes (1987), for instru­ of many styles and forms, classical Berenice: Variations on a Theme of G. F. mental ensemble. and vernacular aUke, then cross and Handel (1984), for violin, clarinet, Sean-Sean (1965), for French horn, 3 juxtapose elements of those styles cello, and piano. cellos, and tape. and forms, creating a kind of per­ Blue Cubes (1982), for instrumental Shadows (1982), for flute with echo sonal language for the given piece." ensemble. device. Moore continues to teach students Broken Suite (1969), for instrumental Sky Dance/Sky Time (1984), for instru­ privately in his music studio on ensemble. mental ensemble, dancers, and Manhattan's west side, not far from Classical Dancing (1987), for instru­ sculptor. the Juilliard School. During the sum­ mental ensemble. Sonata: Variations for Mandolin and mer of 1988 Moore served as master Concertos (The Theme ls Freedom) Piano (1965). composer in the American Dance (1985), for instrumental ensemble. Sonata for Ce/lo and Piano (1966). Festival in Durham, North Carolina. Dawn of the Solar Age (1978), for Subtle Jam for Six, Seven, or Eight Play­ Recently, in Geneva, Switzerland, he brass, percussion, and synthesizer. ers (1973), for instrumental ensem­ presented his new composition The Deep Night with Tree (1986), for flute ble. Persistence of Green (1988), a multime­ and taped flute. Understudy (1982), for instrumental dia work for instrumental ensemble Drum Major (1969), for trumpets, ensemble. with choreography by Angela Ver­ trombone, tuba, percussion, and Variations on a Theme of Abraham Lin­ durmen and slides by Caterina tape. coln (1973), for instrumental en­ Bertolotto. Alv:in Ailey has choreo­ Fantasia on "O Come, 0 Come, Emman­ semble and soprano. graphed one of his compositions uel" (1987), for soprano and instru­ Variations on a West African Lament which will be performed at La Scala mental ensemble. (1987), for instrumental ensemble. in Milan, Italy, later this year. Fixed Do: Moveable Sol (1980), for in- The Wide Seatide Inside Us All (1983- 13

1984), for instrnmental ensemble, The Persistence of Green (1988), for in­ DISCOGRAPHY with poetry by John Hay. strumental ensemble. Choreogra­ phy by Angela Verdurmen, slides Berenice: Variations cm a theme of G. F. Hanthl. Concert Band by Caterina Bertolotto. Aeolian Chamber Players. Composers Re­ The Rehearsal (1987), for dancers, five cordings CR! SD-519. Blue Drone and Canon (1984). instruments, and voices. Four mOl>tmtnts for a fashionable five-toed dragon. The American Symphony Orchestra with a Rites of Time (1987), for instrumental jazz quintet composed of Kenneth Bichel, Chorus ensemble. Richard Davis, Elliott Randall, Sam Rivers, Behold the Lamb of God (1962), for cho­ They Tried to Touch (1986), for instru­ and Warren Smith. Vanguard Records mental ensemble and dance ensem­ HKTIX-Al. rus. O

A Note on the Death Date of Blind Lemon Jefferson by E. S. Virgo, Orpington, England

When did Blind Lemon die? This mous," and it has been suggested him whether he knew any of question has emerged several times that Paramount "made no attempt to Lemon's songs. He therefore re­ in my past researches, and it capitalize on his untimely death for corded "Mississippi County Farm emerged again recently as I was con­ six months" (Calt). The reference to Blues" to the tune of Lemon's "See sidering some new data on the re­ this uncharacteristic behavior on the That My Grave Is Kept Clean" cording dates of various items in part of Paramount relates to their (I

Canadian Newspapers as Source Material: Further Notes on James Douglass Bohee (1844-1897) by Neil V. Rosenberg, Memorial University of Newfoundland, St. John's, Newfoundland

Several years ago Jeffrey P. Green this important black musician, who, obituary published in Wales (where (1985) published in these pages an with his brother George Bohee, was Bohee died in December 1897) de­ account of his research into "The much celebrated in Britain during the scribed James as "a man by Case of James Douglass Bohee (1844- last quarter of the nineteenth century. birth," while Eileen Southem's Bio­ 1897)." In it he showed how British One aspect of the Bohee story, how­ graphical Dictionary (1982, 40) gives newspapers could be fruitful sources ever, has remained obscure-their for contemporary information about place of birth. As Green noted, the Continued on page 16 16

Canadian Newspapers, continued menced on Monday the 17th. Re­ ances. In spite of this journalistic views of performances were pub­ support and the fact that there were his birthplace as Chicago. Recently lished from the 18th to the 22nd. On two native sons in the cast, it is clear discovered contemporary periodical Tuesday the 18th the Telegraph's re­ that the Haverly's week-long engage­ sources clarify this aspect of the lives view of the opening night perform­ ment was not a complete success. On of the two Bohee brothers and indi­ ance devoted considerable space to the 22nd a review of the previous cate that they were natives of Can­ the Bohees: evening's show begins by noting ada. poor attendance, states that "The The American music magazine Ca­ The arrival of Havcrly's Colored troupe have not been as generously denza carried a report which was Minstrels in this city brings out the patronized by the St. John public as fact that James Bohee who has be­ copied from the Dramatic Mirror for they should have been," gives a de­ come celebrated in this country as a December 25, 1897: peer among banjo players (and who tailed description of the various acts acts as the drum major of the pa­ in it, and closes by urging its readers James Bohee, an American banjoist, to attend the final shows: 'The per­ who went to Eng.land in 1880 with rade), and his brother George, also formers deserve crowded houses this Haverly's Minstrels died in Wales of the company, were born in In­ recently. Mr. Bohee was one of the diantown, St. John. They went to afternoon and evening'' ("Haverly's first of the clever banjo players to school here, and in their youth Minstrels" 1880b, 3). visit England, and he and his moved with their parents to Boston. The Daily News provides some in­ brother helped to make the instru­ James had always been, from youth, sight into this lack of success. Like ment popular over there. He was a partial to string instruments, his par­ the Telegraph, the News ran favorable London favorite for many years, and ticular affection settling upon the notices at the beginning of their en­ banjo. His first banjo was given him appeared frequently at the London gagement, noting on Monday the by Phil. Logan, well known at that Pavilion ("Banjo Player of the Old 17th that they had received "hand­ Days" 1898, 19). time. Young Bohee took great de­ light in picking away at this instru­ some econimums from the Montreal To this, Cadenza's editor added: ment, until he reached a good de­ Evening Posr' ("Minstrelsy'' 1880, 3) gree of excellence. He taught himself and reviewing the opening show by The foregoing notice omits the fact entirely, without instruction, and noting that "Mr. James Bohce's very that Mr. Bohee was a colored man, though acknowledged the best banjo artistic performance on the banjo and one of the very few colored men player in the United States, he can procured a recall" ("Haverly's Min­ who ever played the banjo in a cred­ read no note of music. His execution strels" 1880, 3). But on the following itable manner. He was also one of on that very difficult instrument is day, the News indicated that the first the few surviving "old time" banjo unlike in character that of the gener­ night had not had a full house, that performers and belonged to the "old ality of banjo artists. The rough and this afternoon's matinee had been school" of players ("Banjo Player of heavy thumping and strumming is the Old Days" 1898, 19). avoided by him. The delicacy of his canceled, and went on to reassure its touch and skillfulness of his finger­ readers of the respectability of the ln the next issue a response to the ing brings out the most delicate mel­ show. Evidently, though, the News obituary was printed: odies with a touch that is perfection had some doubts on this account, for and a tenderness of treatment that is on the 22nd it spoke critically of the Mr. Frank Whetsel, the popular ban­ remarkable. He is an artist of that in­ joist of St. John, N.B., informs us lightly attended Friday night show, strument. Jas. Bohee, before his en­ stating that there were "rather more that the late James Bohee and his gagement by Mr. Haverly, appeared brother, the celebrated colored ban­ gags than was seemly," and con­ at all the principle theatres of note. joists whose performances enter­ demning the troupe for "guying an His brother George, also in the com­ tained the Londoners for years, were audience" ("Haverly's Colored Min­ pany, has a sweet tenor voice as the both born in St. John ("Passing strels" 1880a, 3). At no time did the audience of last night can testify. He NotesH 1898, 19). News mention the Bohees' local con­ reaches C. with ease and is a banjo­ ist and specialty artist, both brothers nections. Further testimony to the Bohces' appearing in dialogue songs and At this point it is not easy to ac­ origins comes from reports published dances. These, like many other of count for the mixed reception re­ in May 1880, when Haverly's Genu­ their features, are said to be entirely ceived by the Bohees and the other ine Colored Minstrels came to Saint original with themselves, at least members of the Haverly troupe, but John (then usually spelled St. John), they have never been produced here there are a few clues in the Tele­ New Brunswick, for a week's en­ before (" Ahead of All Others" 1880, graph's enthusiastic reports. On the gagement at the Mechanics' Institute. 3). 20th it noted that "The witticisms On May 13 the two local newspa­ were for the most part fresh and spar­ pers, the Daily News and the Da11y Subsequent days' editions of the kling'' [emphasis added), and as-­ Telegraph, began running ads for the Telegraph carried briefer enthusiastic sured readers, not for the first time, troupe's appearances, which com- reviews of the troupe's perform- that a "change of programme" was 17

due at the next performance century. Among those remembered Ushed in the Dnzmalic Mim,r December 25, ("Haverly's Genuine Colored Min­ today as locally influential banjoists 1897.) Daily News (Saint John, New Brunswick). strels" 1880, 3). For those who liked are a number of Afro-Canadians Daily Ttltgroplr (Saint John, New Brunswick). minstrel shows, such comments from the region. Elsewhere I have Green, Jeffrey P. 1985. The case of James Doug- might indicate that this troupe was a written of these individuals (Rosen­ lass Bohce (1844-1897). Black M115ic R.tst#rdi bit too predictable. But it is obvious berg 1988), including George Hector Newsltlla- 7 (no. 1):4-5. from the comments in the News that of Grand Bay, New Brunswick, a Haverly's Colored Minstrels. 1880. [Saint John, New Brunswick) Daily Ntw5 May 22:3. there were some people for whom suburb of Saint John. He has been Haverly's Genuine Colored Minstrels. 1880. such entertainment was simply not regionally acclaimed for his work as [Saint John, New Brunswick) Dar1y Ttltgraplr respectable. The troupe, which had a country music pioneer with the May 20:3. come to Saint John from New York, Maritime Farmers, a group that ap­ Havcrly's Minstrels. 1880a. [Saint John, New Brunswick) Doily NtTDS May 18:3. moved on to Halifax, Nova Scotia. peared regularly on Saint John radio Haverly's M;nstrels. 1880b. [Saint John, New I do not know if the Bohee broth­ and television from the late 1930s to Brunswick) Daily Telegraph May 22:3. ers subsequently returned to their na­ the early 1960s. In him and others the Minstrelsy. 1880. [Saint John, New Brunswick) tive New Brunswick, but clearly their traditions of excellence established by Doily News May 17:3. Passing notes. 1898. Cadenza 4 (March- April): careers developed and came to their the Bohees live on. 19. successful fruition outside of Canada. REFERENCES Rosenberg, Neil V. 1988. Ethnicity and class: Nevertheless their proficiency as ban­ Black country musicians in the Marilimes. joists reflects the fact that the instru­ JounUJl of OIMdum Str.ulia 23 (no. 2):133- ment was popular in New Brunswick Ahead of all others. 1880. [Saint John, New 156. Brunswick) Daily Ttltgraplr May 18:3. Southern, Eileen. 1982. Biographial dictionary of and the other Maritime provinces Banjo player of the old days. 1898. Cadenza 4 Afro-American and African musicians. West­ during the last part of the nineteenth (january-February):19. (Originally pub- port, CoM.: Greenwood Press.

New Books Received Preliminary Reviews

Cuscuna, Michael, and Michel ola; it examines relationships among thirty-six (36) African countries being Ruppli, comp. The Label: black radio, record labels, record re­ systematically represented. Photo­ A Discography. Discographies, No. tailers, and distributors; it reviews in­ graphs and ethnic/linguistic maps 29. Westport, Conn.: Greenwood dustry and artistic activity in the supplement the author's country-by­ Press, 1988. xxx, 511 pp. photo­ nation's soul-music centers; and it country approach. He discusses high­ graphs. index. $75.00. This is a com­ discusses key figures of black (R & B) life dance bands, guitar bands, Swa­ plete listing of all recordings "made radio. The author is a knowiedgeable hili bands, liberation music, and or issued on the Blue Note label" (p. and shrewd observer and interpreter other forms of modem popular vii). In addition to the usual disco­ of the contemporary music scene, music, as well as the traditional mu­ graphical entries, there is included a and his work is important to the field sics of the countries discussed. The history of the label, titled 'The Blue of black music research. book is basic for new researchers of Note Story," and a photographic contemporary African music. essay. Graham, Ronnie. The Da Capo Guide to Co11temporary Africa11 Gray, John, comp. Blacks i11 Clas­ George, Nelson. The Death of Music. New York: Da Capo Press, sical Music: A Bibliographical Guide Rhythm & Blues. New York: Pan­ 1988. xii, 315 pp. photographs, maps. to Composers, Performers, a11d En­ theon Books, 1988. xvi, 222 pp. pho­ bibliography. index. $13.95. This sembles. Westport, Conn.: Green­ tographs. index. $17.95. This highly guide is a discography that contains wood Press, 1988. x, 280 pp. indexes. readable, fast-paced narrative com­ "elements of biography, history, and $39.95. This excellent bibliography ments on what the author refers to as economic analysis." Primarily con­ contains more than 4,000 reference ci­ the atrophy of and cerned with modem popular music, tations to writings about black com­ suggests dire consequences for the the work catalogs and describes the posers, performers, and e.nsembles, form. The work discusses and puts post-1945 recorded music of leading into its perspective the issue of pay- African musicians, with the music of Continued on page 18 18 includi~g opera singers and opera tations of 1,300 items published be­ with spirituals, the author proceeds comparues, symphony orchestras, tween 1974 and 1980, "plus addi­ to treat minstrelsy, ragtime music, and conductors. The book covers Eu­ tional material with earlier publica­ show musicals, blues, dance music of rope, Africa, Latin America, the Car­ tion dates not incJuded in the origi­ various kinds, swing, rhythm and ibbean, and the United States, and nal bibliography" (flyer), and an ap­ blues, boogie woogie, soul, reggae, spans the period of the mid-1700s to pendix of 850 items published be­ disco, and rap/hip-hop. In each case the present day. Although there are tween 1981 and 1985. the author also treats white syntheses some omissions, the work is an indis­ of black music in the form of cover pensable resource for new scholars Lomeli, Kip. "Happy in the Ser­ records, crossover, and other means and extremely valuable for all. vice of the Lord": Afro-American of adoption and stylistic exploitation. Gospel Quartets in Memphis. Music Guralnick, Peter. Sweet Soul in American Life. Urbana: Univer­ Small, Christopher. Music of the Music: Rhythm and Blues and the sity of Press, 1988. x, 171 pp. Common Tongue: Survival and Cele­ Southern Dream of Freedom. New photographs, ma.ps. bibliography. bration in Afro-American Music. York: Harper & Row, 1986. ix, 438 discography. appendixes. index. London: John Calder, 1987. 495 pp. pp. photographs. bibliography. dis­ $32.50; paper, $12.95. This book fills a index. $23.95. A truly humanistic cography. index. $14.95. Concerned long-neglected need in gospel and work, this book treats Afro-American with the soul music of the 1960s, this Afro-American musical scholarship. music from the standpoint of the cul­ book is a well-researched and well­ It treats all of the important quartets, ture from which it springs and from written chron:icle and history of the quartet trainers, and disc jockeys that of the culture at-large, outlining genre, providing an introduction to who lived and worked in Memphis, "the history of the encounter be­ and definition of soul music and Tennessee, over the past sixty years. tween the two great musical tradi­ treating all aspects of the artistic and Many of these musicians are im­ tions of Africa and of Europe" commerical worlds in which it flour­ portant in the history of American (jacket). The author's basic position is ished. music. that the value of Afro-American music to society at-large lies in its Hom, David, with Richard Jack­ Shaw, Arnold. Black Popular potential use by individuals and son. The Literature of American Music ill America. New York: groups as a tool for exploring, af­ Music in Books and Folk Music Col­ Schirmer Books, 1986. xi, 386 pp. firming, and celebrating their iden­ lections: A Fully Annotated Bibliog­ photographs. bibliography. discog· tity. The author's occasional factual raphy. Supplement I. Metuchen, raphy. index. $19.95. This book at­ and interpretive errors (very few, in New Jersey: The Scarecrow Press, tempts to account for the origins and fact) do not detract from the book's 1988. xvi, 570 pp. appendixes. in­ development of black music and to effectiveness as a social, cultural, and dexes. $32.50. This book, a supple­ demonstrate the interplay between aesthetic foundation for the under­ ment to Hom's 1977 work of the black and white e'lements of Ameri­ standing and experiencing of Afro­ same title, contains listings and anno- can black popular music. Beginning American music. -Ed.

BMR Bulletin is devoted to the encourage­ BMR Bulletin is published by the Colum­ Inquiries regarding subscription, as well as ment and promotion of scholarship and cul­ bia College Center for Black Music Research. subscription payments of $3.00 for U.S. su~ tural activity in black American music and Is Information submitted for inclusion should be scribers or S5.00 (U.S.) for those abroad, intended to serve as a medium for the sharing mailed to: Samuel A Aoyd, Jr., Editor, Center should be sent to: Publications, Center for of ideas and information regarding current for Black Music Research, Columbia College, Black Music Research, Columbia College, 600 and future research and activities in univer­ 600 South Avenue, Chicago, lllinois South Michigan Avenue, Chicago, Illinois sities and research centers. 6060S-1996. 60605-1996. Telephone:312/663-9462.

Editor: Samuel A. Floyd, Jr. Managing Associate Eciltor: Marsha J. Reis5"r Associate Editor: Orin M°" Production Assistant: Trenace V. Ford