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Spring 4-1-1989

Black Music Research Bulletin, Spring 1989

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Spring 1989" (1989). Center for Black Music Research: Black Music Research Newsletter. 28. https://digitalcommons.colum.edu/cbmrnews/28

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BULLETIN C B \I R COLUMBIA COLLEGE CHICAGO Vol. 11, No. 1 ISSN 0898-8536 Spring 1989

Contents Tum-of-the-Century Jug Bands in the Southeastern United States Black Music on the Southeast- em Seaboard by Bruce Bastin, Sussex, England Tum-of-the-Century Jug 1 and leffrey Green, West Sussex, England Bands in the Southeastern United States Sources of information on the mu­ sonal aspects of performers, although Bruce Bastin and Jeffrey Green sical styles and groups playing with­ they do not add very much to our in small communities are so scant knowledge of the societies that pro­ Black Vaudeville and the 3 that researchers have been forced to duced or listened to the music. TOBA in Atlanta rely on evidence of commercial pho­ Should we turn to sources that, on Thomas L. Riis nograph discs, recording company the surface, have no relevance to ei­ Kemper Harreld and Willis 5 files, recollections of veteran per­ ther· music or to black folk? We James: Music at Atlanta formers, and contemporary newspa­ should be alert to a paradox: the fact University, Morehouse Col- pers. This is especially true of jug that an event produced no apparent lege, and Spelman College bands, groups that performed popu­ comment does not mean that it did Rebecca T. Cureau lar songs, blues, and jazz on a variety not take place. In Arthur Conan of instruments, including a jug. Doyle's Silver Blaze, fictional detective Black Music Scholarship and Blown into or across the mouth to Sherlock Holmes, investigating a the Approaching New produce an amplified bass-like note, missing horse of that name, drew the Century the jug had orthodox companions attention of police inspector Gregory drawn usually from the string family to "the curious incident of the dog in Key Issues, Areas, and 8 (vioUn, banjo, guitar, and mandoUn), the night-time." Gregory said that the Topics in Black Music flute, and harmonica. The origins of dog did nothing, and Holmes ad­ Scholarship, Teaching, and this music have been obscure, but vised him that "that was the curious Performance, 1988-1999 Memphis, Tennessee, has loomed incident." The watchdog's silence Edith Borroff 8 large, as a commercially successful meant that it knew the intruder. Richard Crawford 8 group led by Gus Cannon was based Conan Doyle's Holmes stories ap­ Dominique-Rene de Lerma 9 in that city from the 1920s and made peared in serial form in Strand Maga­ D. Antoinette Handy 10 recordings. Other evidence strongly zine in the 1880s, and it is to that un­ Portia K. Maul Isby 10 suggests that jug band music was likely London monthly that we Eileen Southern 11 performed widely in Georgia, South turned for evidence of black jug Martin Williams 12 Carolina, and Florida at the begin­ bands in 1890s Georgia. Josephine Wright 12 ning of the century. In its October 1898 issue, Strand Hitherto untapped sources have Magazine published six: pages on 1989 National Conference on added to the documentation of black Georgia barbecues. Barbecues were Black Music Research grassroots music of the early years of unknown in Britain, so the English this century. Welfare files and death readers could marvel at the details: Abstracts of Papers 13 and prison records inform us of the one hundred sheep were roasted names, occupations, and other per- over two trenches, each over one 2

f .. ,. hundred feet long, the cooking su­ I pervised by a black chef ("a man of ~· . . great ability and popularity") in a style capable of feeding one thou­ .~ . . . sand salesmen at short notice and, ~ ' ~· during the recent Atlanta Exposition (1895?), operating every day. l·".: ~ \~:- The novelty of such gatherings, for Britons, led Wide World Magazine, in May 1920, to reprint much of the ar­ ticle and several of its photographs. The photographs show that the guests were white; but a new photo­ graph of "A Barbecue Orchestra at Work" shows four black men, neatly dressed in seemingly matching suits, high collars, and ties, playing a vio­ lin, two guitars, and a jug. The photo was taken by Howe of Atlanta, possi­ bly not at the same time as Howe's pictures that were reproduced by the Strand in 1898. The 1902 article men­ tions that six thousand were fed at a barbecue near Augusta, Georgia. dox music-making seen by Howe's dox instruments. Both articles show that barbecues barbecue orchestra. Could social A search of the social documents were an Ameri:can custom in both events around the St. Johns River of tum-of-the-century Atlanta, Pal­ North and South, often featuring and Jacksonville, Florida, have in­ atka, and Jacksonville might uncover music when politics were not behind volved music-making in the same other evidence of the employment of the public feast. The events lasted manner as Georgia's barbecues? jug bands in neighborhood affairs. three hours, which leads us to con­ Mamie Garven Fields's 1983 mem­ Howe's pictures and those of other clude that the black quartet had a oir of life in coastal Sou th Carolina at local photographers, the diaries and repertoire both extensive and varied this time2 contains an undated, but calendars of participants, and the and that they had rehearsed and al­ circa 1900 photograph of a South local newspapers seem obvious most certainly played in public be­ Carolina youthful jug band. The six places to look. Social clubs reported fore Howe snapped them. That a performers appear stiff and posed; to their members, especially of fund­ group of instrumentalists played but the picture is titled "Children's raising activities, and in those annual near Atlanta around 1901 is of con­ bands often entertained at commu­ financial reports there might be evi­ siderable interest in itself, but it is en­ nity picnics" (Fields 1983, ff. 110). dence of the employment of unortho­ hanced when we see that Wide World These photographs give evidence dox instrumental groups. Prize-giv­ Magazine in January 1905 published a of music-ma.king involving jugs ings, picnics, barbecues, excursions to photograph of five Florida youths across three states around the year scenic spots, sports days, and fish playing the unorthodox instruments 1900. Why has this gone undetected? fries were common among the myr­ of jugs, harmonica, and bones.' The The answer must be similar to Sher­ iad social groupings, black and commentator on the latter remarked lock Holmes's conclusion regarding white, of contemporary small-town that these jug bands were "one of the the dog in the night-time, which did America. Evidence of those activities most familiar sights of Florida, ... not bark because it knew the in­ may well show that jug band music formed in nearly every district by truder. Music-making by black jug had a wide but local acceptance. negro boys." The most famous was a bands in Georgia, Florida, and South We can hazard a guess at the sextet called the Palatka Jug Band. Carolina around 1900 may have been range of music performed by that The commentator added that Flor­ so well-known to the communities barbecue orchestra from the reper­ ida jug bands obtained pennies from that it was not worthy of comment. toire of the string band of Carl Mar­ tourists by "a kind of musical black­ But readers in distant Britain would tin, Ted Bogan, and Howard Arm­ mailing association," but surely they be intrigued by the size of the barbe­ strong- perhaps the best-known in were also aiming at the more ortho- cues and the novelty of the unortho- recent years and the best-docu­ mented on long-playing records. Ex­ 1. More details are given in Bastin 1986, 3'h35; photographs after 160 (see Fig. 1). 2. Fields was born in 1888. amples on record from the 1920s and 3

1930s of black string and jug bands Because the instruments were un­ should wonder why the ifamiliar are common einough, and even there orthodox, it seems likely that the sight" has for so long escaped the at­ the range is apparent. Martin, Bogan, players were not music-readers, and tention of those involved in black and Armstrong had a vast range of that suggests that they would not music research. tunes. Both Martin and Annstrong have performed in mainstream learned fiddle tunes at an early age; music-making. The curious might Ted Bogan played in a medicine have noted their music, but sophisti­ DISCOGRAPHY show. Their albums include such cates may never have known of these non-blues tunes as "Sweetheart of social activities and the music per­ Martin, Carl, Ted Bogan, and Howard Arm­ Sigma Chi," "Mexicali Rag," "You'll formed at them. The fact that the Pal­ strong. Barnyard dance. Rounder 2003, 1972. --. Martin, Bogan, and Armstrong. Flying Never Find Another Kanaka Like atka tourist saw them as a novelty, Fish 003, 1974. Me," and "Alice Blue Gown." They yet noted that such jug bands were a Cannon, Gus. Cannbn's Jug Stompers. Herwin played for different white ethnic familiar sight in Florida, shows the 208. groups in Jewish, Polish, and Italian bands to have been part of the com­ neighborhoods. Interestingly, they munity. lndeed, so much so that per­ REFERENCES are all musical "illiterates." All one haps there was no need for the dog can say, having heard them all per­ to bark. Bastin, Bruce. 1986. Red Riv,er blues: The blues Some ninety years later we could tradition in th, Southeast. Urbana: University form as individual musicians, is that of Illinois Press. they epitomized in their "illiteracy" intrude into the world of black jug Fields, Mamie Garvin. 1983. Lemon Swamp and the very essence of the genuine folk bands in the southeastern U.S.A. other p1aces: A Carolina memoir. New York: performer. without fear of being bitten, but we Free Press; London: Colliei- Macmillan.

Black Vaudeville and the TOBA in Atlanta by Thomas L. Riis, University of Georgia, Athens, Georgia

As the principal commercial entertainment districts were Decatur 1974, 257- 265; Atlanta Independent entrepOt for northeast Georgia, a Street, a decaying crime-ridden con­ May 4, 1922, 5; and May 25, 1922, 8). boom town of the Reconstruction nector to the principal north-south Other popular spots, such as the Ma­ South, Atlanta drew to itself signifi­ Atlanta thoroughfare, Peachtree jestic, a movie and vaudeville house, cant numbers of newly freed blacks Street, and a more progressive "street and the Palm Garden, a dance hall after the Civil War, some sixty thou­ of pride," Auburn Street, slightly to and restaurant that also occasionally sand by 1910, roughly one-third of the north of Decatur and also linking offered vaudeville, added to Au­ the city's population being the con­ to Peachtree. Both streets were on the burn's attractiveness (Porter 1974, sistent statistic through the last de­ east side of the city, which encom­ 261- 262; Sampson 1980, 45). Decatur cades of the nineteenth century (U.S. passed the largest concentration of Street, with its bars, gambling Bureau of the Census 1968). Despite Atlanta blacks. The most imposing houses, and pawnshops, catered to the hunger for "Redemption" among edifice in the black business district the mass taste in entertainment with Georgia whites and the legal and ex­ of Auburn Street was the Odd Fel­ the Eighty One and Ninety One The­ tralegal barriers thrown up to thwart lows Building which housed the aters, both owned by white entrepre­ race mixing and the advancement of Royal Theater. This auditorium, also neur Charles T. Bailey. The atmo­ blacks, the large active urban popula­ known as the Auditorium Theater, sphere of these spots was recalled by tion of blacks created thriving neigh­ was opened in 1914 and could seat older Atlantans in 1973: borhoods. Along with other commer­ over seven hundred on the main cial ventures, parks and centers of floor and more than five hundred in The Eighty One Theater was located the balcony. It boasted of "favorable in an ordinary building that had amusement were built. Some dozen room for seventy-five to eighty peo­ conditions" and "wholesome amuse­ major parks, theaters, and dance halls ple in the balcony. The barnlike were maintained in black neighbor­ ment'' and welcomed a string of structure could get a total of 110 hoods between 1890 and 1930 (Foner major black stars: the prima donna people in there at one time. Acts 1988, 395, 423-424, 430; Porter 1974, known as the Black Patti (Sissieretta were performed there all day long, 256-263). Jones), the dignified William's Col­ Sunday included, as late as twelve By the heyday of black vaudeville ored Singers, and later on Ethel Wa­ o'clock at night. It was the home of around 1920, the two most important ters and her Jazz Masters (Porter Bessie Smith who got her start there. 4

The atmosphere of the Eighty One press for his initiative. But his efforts were reported in the press are none Theater was rather a loud-talking, were at first focused on the theaters too clear, but none of the above-men­ feet-stomping and booming affair. immediately north and south of tioned participants-Bailey, Dudley, People did pretty much as they Washington, D.C., Dudley's home Klein, or Cummings-appear in the pleased (until police came in re­ base. Farther sou th, many forces list of officers or board members an­ sponse to the noise) (S. C. Usher, were contending for black business. nounced for the organization that re­ quoted in Porter 1974, 259). In 1916 the Royal Theater reportedly sulted from these maneuvers- the Homer Eichelberger, another for­ joined the Klein Circuit, another pre­ T0BA. When the T0BA was finally mer patron of the Eighty One, re­ TOBA enterprise that supported formed in late 1920 or early 1921, it membered details that suggest the black entertainers. The next year was firmly established by cooler new Eighty One building that Bailey Klein attempted to form a circuit heads: Milton Starr, !from Chatta­ put up in 1918: through the Midwest and South, nooga; C. H. Douglass, a black the­ called the Consolidated Exchange, ater owner from Macon; Chintz It was a two-story building and the that was to have included Atlanta Moore of Dallas, who had been building's inside walls were kept theaters. At the same time E. L. Cum­ linked to the Southern Consolidated slicked up with paint, and the seats mings, a booking agent from Pensa­ Circuit; and Sam Reevin, the former were pretty dose together. Other cola, Florida, was also beginning to partner of Klein and Dudley whose than that it was comfortable. It was assemble the Southern Consolidated business acumen-he was the trea­ a place where the high and low, and Circuit of southern states theaters surer-seems to have been the grease the saint and sinner went. ... The that allowed the TOBA to work majority of the patronage was black. (Chicago Defender March 22, 1916, 6; September 15, 1917, 4). smoothly and grow. Bailey returned it * • ,. • The shifting loyalties among the­ to the fold in May 1921 and served (Bailey] had a high-yellow . . . ater owners to these various circuits on the TOBA board of directors until woman (who) served as the cashier in the late teens and early twenties January 1922, when Dudley again is (wearing] plenty of gold and dia­ suggest that all parties involved were listed as a local manager for TOBA in monds on her finger .... Ethel Wa­ jockeying for power and profit. There Washington (Billboard February 12, ters used to sing the blues there, ... was money to be made in vaudeville, 1921, 39; Chicago Defender May 11, that song, '1'm going down to the and the performers' welfare was not 1921, 6; January 21, 1922, 7). levy where the water is heavy trying always uppermost in the business­ In early July 1922 'Bailey appar­ to get my good man back." ... She men's minds. Theater owners were ently defected to the new rival Man­ created a sensation. often suspect in the eyes of perform­ agers and Performers Circuit, headed ers and were assumed to be the cause by Cummings and including among Bessie Smith was another blues of all woes. Charles Bailey of Atlanta its members theaters in Augusta, Sa­ singer who appeared at the Eighty seems to have been especially dis­ vannah, Brunswick, and Columbus. One.... Her :favorite song was "I'm liked, and he appears patronizing, But within the month the Eighty One going to change my way of living." . dictatorial, and greedy in the press was back in the T0BA column. After . . Bessie was nice looking, and she accounts of his activities. Having just the T0BA was reorganized in De­ was brown skin too. She had a way opened his new Eighty One Theater cember 1922 to include some of of showing herself [and] good in May 1918, Bailey was courting Cummings's old territory, the Eighty clothes. She wore this white dress "the entire Dudley time" later in the One and the Douglass Theater in that had several slits on the sides so year. But he was feeling less charita­ Macon were booked out of the main that every time she shaked the dress would ripple apa.rt. And people ble towards Dudley in February 1920 T0BA office, not the Pensacola office would just like to see her. All of when blocking Dudley's bid for the that included all of the other Georgia them had on good clothes (Porter presidency of what was to have been houses (Billboard July 1, 1922, 42; July 1974, 260). a grand merger of '!he Southern Con­ 15, 1922, 59; December 16, 1922, 86- solidated Circuit (Bailey's affiliate) 88). Unfortunately, documentation The expansion of the black theater and Dudley, Klein, and Chattanooga about the Pensacola-linked theaters business ~nd its consolidation, first in owner Sam Reevin's United Vaude­ appears not to have survived. All of the (S. H.) Dudley Circuit in 1912 and ville Circuit. By May 1920 the Free­ these goings-on were not irrelevant later in ... the more famous Theater man was accusing Bailey of "sla­ to the entertainment available to At­ Owners' Booking Association vonically" stealing acts from the lanta audiences. Bailey's TOBA link (T0BA) of 1921 fed the public's inter­ United Circuit for his own theaters was crucial for obtaining access to a estin hearing fresh talent, new popu­ (Chicago Defender May 18, 1918, 4; long list of top flight vaudeville per­ lar music, and of course, recording August 3, 1918, 6; Freeman February formers committed to the organiza­ "stars" like Bessie Smith. Dudley, as 14, 1920, 6; May 29, 1920, 6; Knight tion. a prominent black performer himself, 1987, 165, 170). The larger acts that came to At­ enjoyed much support from the black The political machinations as they lanta, usually to the Eighty One, in- 5 eluded William Harris's Hits and vided a lengthy show at a flat fee. that, as J. A. Jackson archly noted in Bits, Bob Mack's Dixie Belles, the (Douglass paid, on the average, $300 Billboard (March 14, 1925, 68), could James Crescent Players, Jules a week for tabs in 1925 and 1926.) now afford to buy its hometown of McGarr's Ragtime Steppers, the Many if not most of Douglass's per­ Marietta if it pleased. Smarter Set, Anita Bush and com­ formers moved next to Bailey's At­ The decline of vaudeville in gen­ pany, the Ted Pope company, the lanta houses, the "jump" from Macon eral and the TOBA in particular in Whitman Sisters company (an At­ to Atlanta being close (Douglass The­ the late twenties and thirties does not lanta family and always well-re­ ater Collection, business ledgers). seem to have hurt Bailey's business. ceived at home), the touring com­ Individuals and duo acts were also His theaters enjoyed continued sup­ pany of the 1921 Broadway hit Shuffle commonly booked into Atlanta: an port for years afterward. In 1931 he Along, and the almost equally suc­ eccentric dance and pantomime team, even opened a new theater on fash­ cessful 1924 New York show Liza. Buzzin' Burton and Vaughan; family ionable Auburn Street advertising Bessie Smith a.nd her company re­ acts, such as Curtis and Curtis, Kike both movi.ng pictures and live acts. portedly appeared in Macon ten and Marion Gresham, and the ex­ As late as 1965 there was still a the­ times between 1923 and 1928 and so tremely popular Stringbeans and ater in Atlanta called Bailey's Eighty probably saw Atlanta at least that Sweetie May; the elegant solo da.ncer One on Decatur Street (Atlanta Daily often during the period. Ma Rainey, a who inspired Nipsey Russell to enter World December 9, 1931, 5; December Columbus native, played in Atlanta show business, Jack Wiggins; and 13, 1931, 1; Atlanta City Directories from time to time with her band and "the one-man circus,'' Harrison 1930-1965). chorus girls (Chicago Defender No­ Blackburn (Billboard December 27, vember 6, 1920, 7; March 26, 1921, 4; 1924, 49; Chicago Defender March 18, REFERENCES November 18, 1922, 7; Billboard Sep­ 1916, 6; July 8, 1916, 6; Steams and tember 1, 1923, 71; March 15, 1924, Steams 1968, 223, 239-241, 287). The Atlanta City Dirtctc,rits, 1911-1%5. 49; May 17, 1924, 47; May 24, 1924, list could be extended to dozens of Atlanta Omstitution, 1925. 47; October 11, 1924, 49; February 7, individuals and groups. Atlanta D

Kemper Harreld and Willis James: Music at Atlanta University, Morehouse College, and Spelman College

by Rebecca T. Cureau, Southern University, Baton Rouge, Louisiana

Atlanta has long been known as a historically black institutions: Atlanta College (1881), and Morris Brown mecca of black higher education be­ University (1865), Morehouse College College (1885). While each enjoys a cause of the presence of its cluster of (1867), Clark College (1870), Spelman rich history and an independent exis- 6 tence, these institutions were incorpo­ Negro spirituals and melodies that He established an orchestra and sev­ rated in 1964, along with the Interde­ made these black groups popular. eral quartets, and he developed the nominational Theological Seminary These tours continued until 1915. Morehouse Glee Club into a nation­ (ITS), into the Atlanta University Choruses, under conservatory-trained ally known choral ensemble. In 1927 Center (Bacote 1969, 394, 396-397). directors, also performed with dis­ Harreld joined the faculty of Spelman This brief history will focus on tinction, and in 1906 an annual con­ ColJege in a cooperative program be­ music in the early histories of three of cert series was inaugurated. In addi­ tween Morehouse and Spelman Col­ the Center's institutions: Atlanta Uni­ tion, a strong piano department was lege. That year he directed the first of versity, Morehouse College, and Spel­ developed, and by 1917 "Atlanta Uni­ the Annual Spelman-Morehouse man College. Because of their close versity could boast of having a larger Christmas Carol Concerts. In 1928 the proximity to each other, as well as number of artists at the piano than ensemble was renamed the Atlanta­ long-standing close relationships, any other institution in Georgia" (Ba­ Morehouse-Spelman Chorus when it these schools had in 1929 joined to­ cote 1969, 214-218). performed its first annual spring con­ gether as the Atlanta University Affil­ Fletcher H. Henderson, Jr., (1897- cert; thereafter the Chorus performed iation (Bacote 1969, 268),1 advantages 1952) became one of the University's annual spring and Christmas carol of which included common use of the best-known graduates of this period. concerts-reinforcing the musical co­ library and other physical facilities, a A chemistry major, he was active in operation between the three institu­ faculty exchange program, and cross­ music as a student and was tutored tions (Cureau 1987, 32). registration. This arrangement was by Kemper Harreld. Following grad­ Kemper Harreld had major influ­ especially advantageous to the areas uation in 1920, he enrolled in gradu­ ence on black musical life in the city of music, drama, and art, permitting ate school in New York, but shortly of Atlanta. He performed violin recit­ even closer colJaboration in musical became involved in music-first as a als regularly and maintained a large performances and dramatic produc­ song-demonstrator with the Pace and studio of both children and adults to tions. Handy Music Company, and later for whom he taught violin. He formed At Atlanta University the first the Pace Phonograph Corporation as music study clubs as a means of en­ group bearing any semblance to an musical director, accompanist, and couraging an appreciation of music orchestra-the Guitar Club-was or­ bandleader for the company's Black and became actively involved in the ganized in 1880; mandolins were Swan Jazz Masters (Southern 1982, influential Georgia Music Festival As­ added in 1890.2 The group-to which 176). Between the 1920s and the 1940s sociation, an organization which, in eventually were added violins, cor­ he organized several big bands that the 1920s, made a significant impact nets, and piano-played regularly on were the most widely imitated of all on the cultural life of blacks in At­ campus and received many invita­ jazz groups, and his style was a cata­ lanta (Love 1985; Love 1986). tions to appear in the city. The or­ lyst for playing and writing the jazz Originally organized in 1910 as the chestra became more established in style that later dominated popular Atlanta Colored Music Festival Asso­ 1900 and included more string play­ music, laying the foundation for the ciation by Dr. Henry Hugh Proctor ers. Kemper Harreld of Morehouse big band music of the "swing" era (1868-1933), minister of the First Con­ College reorganized the group in (Southern 1983, 377-378; Bacote 1969, gregational Church of Atlanta, the 1913 and served as director for one 419; Love 1985). purpose of the Georgia Music Festi­ year. In later years, Atlanta Univer­ In 1911 Morehouse College Presi­ val Association was to bring "'to At­ sity students and faculty participated dent John Hope brought to the fac­ lanta the best musical talent of the in the Morehouse-Spelman Orchestra, ulty an individual who would make race,' ... to instill race pride, to pres­ directed by Kemper Harrcld or Willis a lasting impact on the musical life of ent struggling black musicians to the James. Morehouse College and on the cul­ public, and to further appreciation of Other musical groups established tural life of blacks in Atlanta. Kemper the black musical heritage" 0ohns during the University's early history Harreld (1885-1971), a gifted violin­ 1975, 27). included quartets and choruses. A ist, was trained at the Chicago Musi­ During his tenure at Morehouse quartet of 1894, which included cal College, the Sherwood Music College, Harreld trained a number of James Weldon Johnson, gave ninety­ School, and the Frederikson Violin students who later became successful four concerts in New England where School in Chicago. He studied violin musicians, concert artists, and music they sang "old time songs"-the privately in Chicago and in Europe educators. One, Edmund Thornton and concertized widely in the United Jenkins (1894-1926), became a suc­ 1. Oark College (formerly Oark University), States and Europe. Harreld's back­ cessful performer, composer, and Morris Brown College, and Cammon Theologi­ ground, training, and wide experi­ publisher. A product of his father's cal Seminary (which later merged into ITS) ence provided the basis for his initia­ Jenkins Orphanage Band of Charles­ were previously located in distant sections of tion of a music program that devel­ ton, South Carolina, Jenkins had the city. 2. One of the mandolin player, was James Wel­ oped into the musical traditions for learned to play all of the band instru­ don Johnson of the Cass of 1894. which his name became well-known. ments. From 1908 to 1914 he was a 7 student at Morehouse College. (Kem­ Glee Club and sang second tenor in through the period of staunch segre­ per Harreld later premiered Jenkins's the quartet (Hall 1982; Cureau 1987, gation. These campuses were-in ad­ work for violin and piano.) In 1914 18-19, 34-36, 38). While still a stu­ dition to some black churches, nota­ Jenkins traveled with the Orphanage dent, he began arranging Negro folk bly the First Congregational Church Band to London, remaining there to songs and composing original songs. -the only places in Atlanta and the enroll at the Royal Academy of Following completion of his studies area where blacks could enjoy the Music, where he won prizes in com­ at Morehouse College, he continued arts. To be sure, each institution position, piano, and clarinet, and sub­ private study of the violin at the Chi­ maintained its identity through its sequently taught (Hillmon 1986, 145). cago Musical College, and he also own musical and cultural activities. In 1922 he settled in Paris, where he studied composition privately. He But musically they derived great composed, performed, and con­ then taught at several colleges where strength from their close cooperation ducted. Two compositions of 1925, he established music departments during these early decades-a "gold­ African War Dance for full orchestra and organized and conducted choirs en era" of music and culture in this and Sonata in A Minor for violoncello, and orchestras. In 1933 he began his city in the Deep South. won Holstein prizes in New York long and productive tenure at Spel­ (Hillmon 1986, 146). His Charlestonia, man College. a rhapsody for orchestra on Negro James began his serious study of REFERENCES themes, was performed in Belgium, folk music as a young man while in and his Negro Symphony was per­ Louisiana in the early 1920s, ulti­ Bacote, Oarence. 1969. The story of Atlanta Uni­ formed in London (Hillmon 1986, mately achieving a national reputa­ r,ersity: A century of sm>ict. Princeton, N.J.: 150-151). tion as a leading authority on Negro Princeton University Press. At Spelman College, founded in folk music. He collected folksongs in Bailey, Richard. 1973. A short history of Ala­ bama State University during the Trenholm 1881, singing ensembles were an es­ Louisiana, Alabama, Florida, and years, 1925-1940. Thesis, Atlanta University. tablished tradition. Groups known as Georgia. In 1941 he co-founded with Cureau, Rebecca T. 1987. Willis Laurence Spelman Glee Clubs had been organ­ John Work ill the Fort Valley College James (19~1966)-musician, music educa­ ized in the early 1920s, though with Folk Music Festival, which continued tor, folklorist: A critical stu.dy. Ph.D. diss., Atlanta University. Harreld's appointment as director into the mid-1950s. He and Work re­ Guy-Sheftall, Beverly, and Jo Moore Stewart. (1927-1933) a new era in the Spelman corded some of these festivals for the 1981. Sptbm,n College: A centennial celebra­ Glee Club began. But it was Willis Library of Congress (James 1945, 107- tion. Atlanta: Spelman College. James who, as director from 1933 to 108, 228-231; Cureau 1987, 190-199). Hall, Frederick D. 1982. Personal interview with the author, May 12. 1966, developed the Spelman Collegi, James arranged many of his collected Hillmon, Betty. 1986. Edmund Thornton Jen­ Glee Club to a high level of choral folksongs and spirituals for perfor­ kins, American composer: At home abroad. artistry. mances by the Spelman and More­ The Black Persptctwe in Music 14 (no. 2):143- Willis Laurence James (1900-1966) house Glee Clubs and the Atlanta­ 180. James, Theodora Fisher. 1979. Personal inter­ is one of two of Harreld's former stu­ Morehouse-Spelman Choruses, which view with the author, July 6-9. dents who, with Harreld, provided helped to establish his reputation as a James, Willis L. 1945. Stars in de elements: A unbroken musical leadership to the sensitive interpreter of Negro folk study of Negro folk musfc. Unpublished music. Many of his arrangements and manuscript, held in the Spelman College Atlanta University Affiliate institu­ Archives. tions for a period of almost seven de­ compositions for solo voice became Johns, Altona Trent. 1975. Henry Hugh Proc­ cades.3 In 1916 James entered the widely known through performances tor. The Black Perspecti~ fn Music 3 (no. Academy of Morehouse College in by his former voice students and by 1):25-32. concert artists, including Roland Jones, Edward A. 1967. A candle in the dark: A the tenth grade, becoming Harreld's history of Morehouse College. Valley Forge, protege. He performed as a high Hayes. His field collections of "rare Pa.: Judson Press. school student in the College orches­ and heretofore unknown songs" and Love, Josephine Harrcld. 1985. The Atlanta tra and held the position of first chair his writings on Negro folksong and University Center colleges and Afro-Ameri­ folk culture are anthologized in an can musical traditions. Unpublished paper violin through his college years. With presented at the "Conference on Afro-Amer­ a fine tenor voice, James was a fre­ unpublished manuscript entitled ican Music and the Histori~y Black Col­ quent tenor soloist for the Morehouse "Stars in de Elements: A Study of lege: A Reappraisal" held at Spelman Col­ Negro Folk Music," which he com­ lege, November 14-16. --. 1986. Personal interview with the au­ 3. Also taught by Willis James, Wendell P. pleted in 1945 (Cureau 1987, 165- thor, July 23. Whalum (1931- 1987) succeeded Kemper Har­ 180). Southern Eileen. 1982. Biographical dictionary of reld in 1955 as director of the Morehouse Glee Oub, becoming only the second director in its The Atlanta University Affiliate in­ Afro-American and African musicians. West­ history. An organist, he gained distinction as a stitutions loom large in the history of port, Conn.: Greenwood Press. composer, arranger, and ethnomusicologist. --. 1983. Tht music of black Americans: A music and culture for blacks in At­ history. 2nd ed. New York: W. W. Norton. This brief history, however, covers the period lanta and in this area of the Southeast prior to his student and faculty tenures at Torrence, Ridgeley. 1948. The story of John Hope. Morehouse College. from the period of Emancipation New York: Macmillan. 8

Key Issues, Areas, and Topics in Black Music Scholarship, Teaching, and Performance, 1988-1999

With only ten years ahead of us as review, consideration, and delibera­ provide food for thought for scholars we approach the new century, it is tion. It is my hope that the statements in the field as they research and write advisable that we take stock of our will prove valuable as they attempt in the field, (4) provide a tacit or as­ needs and desires for the future of to accomplish the following: (1) pro­ sumptive evaluation of the current black music scholarship, teaching, vide direction to researchers and stu­ state of knowledge in the field, and and performance. To that end, state­ dents in detennining topics on which (5) help define our collective mission ments by nine well-positioned and to focus, (2) provide information for as we move toward the new century. accomplished individuals have been publishers as they seek and commis­ solicited and are published here for sion manuscripts for publication, (3) -ED.

Edith Borroff continue being the victims of various SUNY Binghamton inadequate conceptions of ourselves, both as individuals and as citizens of As scholars define American a nation of diverse peoples (Going to music, historically and in the present, the Territory, Random House, 1986, 42). research on nineteenth-century music in many American centers will be­ Ellison's statement is a marvel of come more important. It is already compression. In the context of the clear that black musicians contributed speech in which it appears, it is also a wonderfully to this literature and that powerful description of the opportu­ the literature as a whole is much nities and difficulties of writing about larger and more splendid than any of Edith Boroff American cultural experience, includ­ us had imagined. The problem of ing Afro-American music. Ellison's American music in the nineteenth four sentences illuminate three partic­ century is basically that American job: unearthing the music and restat­ ularly thorny issues of Afro-Ameri­ musicians never became Romantics ing the standards. Black music will can musical study. First, they locate in the European sense. American come off very well indeed. the field squarely within American music continued to hold onto Classi­ culture, which Ellison sees as itself a cal ideals of rhythmic interest, clarity, Richard Crawford branch of western culture. Second, and purity (that is, depending upon University of Michigan they recognize the complexity of the musical elements themselves and studying Afro-American music seri­ not upon story elements or progTam­ In 1969 Ralph Ellison spoke to the ously (such a "mysterious" subject, matic associations). Those who em­ cadets at the United States Military Ellison notes, will yield its secrets braced the European Romantic ideals Academy in West Point about his only to careful "exploring"). And fi­ sought music that was harmonically own experience as a writer. "l nally, in language so calm and dis­ rather than rhythmically based, val­ wanted to tell a story," he said. passionate that its edge of necessity ued largeness over clarity of sound, lies al most hidden, they justify the and considered music in terms of its I felt that there was a great deal enterprise by diagnosing and analyz­ story content. Judging American about the nature of American experi­ ing the present condition of our music on this standard is like enter­ ence which was not understood by knowledge. ing American dogs in European cat most Americans. I felt also that the American cultural awareness, Elli­ shows: by definition, it couldn't com­ diversity of the total experience ren­ son says, is meager not because we pete, couldn't rate very high. Of dered much of it mysterious. And I felt that because so much of it which are uncaring, or immoral, or wedded course, European music, judged by appeared unrelated was actually to flawed ideology, but because we American standards, would not rate most intimately intertwined, it need­ don't know enough. We sometimes very high either, but the European ed exploring. In fact, I believed that allow ourselves to believe that race Romantics were the judges, so the u.\less we continually explored the and social class are the great dividers, outcome was one-sided. Rectifying network of complex relationships more powerful even than the ideals this will be in large degree a two-fold which bind us together, we would expressed in the U.S. Constitution, 9 the Bill of Rights, and the Declaration Dominique-Rene de Lerma of Independence. (Ellison notes else­ Morgan State University where that in these documents Amer­ icans "put ourselves on the books as By the start of the new century, to what we were and would become, American schools, colleges, and uni­ and we were s.tuck with it'' [p. 46).) versities will have had to address But, he explains, to dwell on the ob­ proper intellectual concerns vis-~-vis vious conditions that divide Ameri­ black culture. The undergraduate stu­ cans from each other- to accept the dents with potential for genuine con­ view that much of the experience of tributions to the various areas de­ the citizens of this "nation of diverse manding black insight simply must peoples" is "unrelated"-makes our retain their love of performance if for Dominique-Rmt de l.erma national diversity look like a series of no other reason than to maintain a barriers, leading us to "continue proper perspective on all future mu­ being the victims of various inade­ sical activities, but they will have to quate conceptions of ourselves, both be liberated from the view that per­ King's death (and because of it) and as individuals and as citizens." If we formance is an overnight escape from since the celebration year of the are to reach a deeper understanding social worries for untutored talents American Bicentennial. In this regard of "the nature of American experi­ and from that venomous attitude per­ there is nothing more dramatically ence," he writes, we must instead petuated by the industries that are telling than the work and strength of "continually explore the network of defining their culture for them only the Committee on the Publication of complex relationships which bind us for financial exploitation. American Music (COPAM) of the together." Sometime before the turn of the American Musicological Society. I believe that in the remaining century, the symphony orchestras of However, the fact that most black years of the twentieth century, black our country will realize that as tax­ undergraduates I have seen cannot or American music will make its way supported institutions it is their re­ will not accept the challenge now into the mainstream academic curric­ sponsibility to serve all segments of being addressed by the new, current ulum- that courses on "the history of our society, not just the small, elite scholars suggests that the informa­ music" in the nineteenth and twenti­ group that they have served in the tional and evaluational future of the eth centuries will routinely take up past. When there are appropriate area will not be in their hands, which Afro-American composers and tradi­ black citizens speaking in behalf of fact will add all the more responsibil­ tions, that the performance of Afro­ and representing their constituents at ity to those non-black investigators American music in academic settings the concerts and on the boards of who now do not deny that art and will increase greatly, and that a these orchestras, the latter will begin sociology are united. If the culture is growing number of academically­ to respond appropriately to this state incorrectly represented or improperly trained musicologists will begin to of affairs. When the quality of black explored in the future, the fault rests study this music-not to be trendy contributions is exhibited by perfor­ first on today's black students and but because they perceive the impor­ mances, recordings, and publications, only secondly on their teachers. But it tance and high adventure of doing the artistic merits and distinctly hu­ would be a sad state were black mu­ so. The ingredients are in place: a manistic insights of these works will sicians to continue to remain inactive music of undisputed artistic excel­ speak to the more basic issue of pro­ in informed verbal interpretations lence, relatively little studied so far gramming. and studies or to work only on intu­ by mainstream scholars, but offering In higher-education circles, as .far ition (assumed to be valid by virtue the tough intellectual challenge of as the recognition of black contribu­ of skin color), continuing to complain cultural and artistic complexity, and tions to American culture is con­ that they were being musicologically distilling the diversity that lies at the cerned, already the climate has ripped off. heart of American experience. That changed for the better. While pre­ But my concern is not limited to diversity is not mere co-existence­ viously we found it necessary to fight the orchestras, opera houses, and aca­ "Everything only connected by 'and' constantly to convince many of our demic institutions of America, al­ and 'and,"' as Elizabeth Bishop put it institutions that acknowledgment of though the extent to which black rep­ (The Complete Poems 1927-1979, Farrar black music as a valid art was not a resentation and participation in these Straus Giroux, 1983, 58)-but inter­ fad, the supporters for this acknowl­ is present is a litmus test. An even connectedness. And, as Ellison edgment have increased. The most more accurate measurement of suc­ shows, it wouM be hard to find a surprising of these supporters have cess will come when statistics will re­ more challenging, intriguing, socially been the newly licensed scholars, too veal nothing in particular about the beneficial focus than that for one's few of whom have been black, who black community in areas of incarcer­ scholarly work. have surfaced so proudly since Dr. ation, illness, or income. 10

D. Antoinette Handy American Music, The Kent State Uni­ National Endowment for the Arts versity Press, 1973). One would hope that by the end of If my memory serves me correctly, the century, the rhetoric of the 1960s it was in the late 1960s that the label and 1970s (and to a lesser extent, the "black music" came into being. I was 1980s) will be a thing of the past. immediately convinced that my reac­ Black leadership, includ.ing black tion to the label varied somewhat elected officials, will have come to from that of my colleagues as well as understand the "black music" label that of the masses, the interpretation (as well as the broader label "black of the media, and the designated con­ art''), since black musicians' visibility notation of the publishing industry, D. Antointlt< Handy at the seats of political, social, and who appeared willing to release any­ economic power will have beoome thing that included in its title the routine. Empowerment will have be­ word "black." The conflict centered Western Journal of Black Studies, Spring come all-inclusive; no one part of around the designation of only that 1978, 44-53). black Americans will be isolated from which sprang from black oral tradi­ Having observed few changes dur­ the other. tions and the spontaneously created ing the last eighteen years, I am com­ pelled to suggest that the "first order versus all musics that sprang from Portia K. Maultsby of business" for the years 1989-1999, black Americans-all styles, in all Indiana University genres; folk and art music; the aca­ with respect to black music, must be demic as well as the non-academic­ the arrival at answers to such ques­ Scholarly publications on black no one any more or less a work of tions as the following: What is the music have increased significantly art. difference in black music and music over the past two decades. Many of With a strong personal leaning to­ created by black people? How can these works explore topics ignored ward the inclusiveness of all musical one embrace the label "black music" by earlier scholars, while others bring creations of black Americans, I specu­ without embracing all black musi­ new interpretations to historical data. lated that the label "black music" was cians? Is a William Grant Still, an Although many strides have been in need of clarification. Many propo­ Olly Wilson, or a George Walker any taken in filling gaps that exist in the nents of the slogan were simply less black than a John Coltrane, a Bes­ scholarship on black music, increased "mouthing" traditional white atti­ sie Smith, or a Thomas Dorsey? attention is needed in the area of tudes. Some de-education and re-ed­ Black performing musicians, music urban traditions, especially popular ucation were warranted among black educators, and music historians must music. musicians themselves. Interdiscipli­ have a clear definition about what is The artistic value and cultural sig­ nary enlightenment of music's inclu­ meant by the label "black music." nificance of popular music often has siveness in the total struggle, for They must find ways of communicat­ been severely underestimated by more than entertainment purposes, ing this definition to the media and scholars. This attitude, in part, can be was warranted. Finally, the music in­ professional organizations (e.g., the attributed to several factors: (1) it is a dustry was not "colorblind" and, Music Educators National Confer­ music produced and marketed as an hence, exempted from Black Power ence, the National Association of Jazz economic commodity; (2) its life-span participation. Educators, the American Musicologi­ is limited to approximately six Personal concern led to my first ef­ cal and College Music Societies). months; and (3) the aesthetic princi- forts at survey analysis (1970-1971). They must recognize that the time for With responses from 445 persons- "Black Caucuses" within these orga­ 255 black and 190 white, of which 50 nizations (those currently existing were performing musicians, 344 aca­ and those under consideration) may demicians, and 51 non-academicians, have expired. Certainly we recognize ranging in age from 26 to "SO and that black music is not a separate dis­ above," from 32 states-I was led to cipline. Music educators, researchers, conclude the following: (1) "Black theorists, and historians must assist Power" and ''Black Awareness" em­ in determining full aoceptance of the phases had only a slight impact on idea that there is nothing in the black musicians and their music and music curriculum that cannot be (2) the label "black music" meant lit­ taught through black music (see tle operationally (see "The Concept of "Black Music in the Undergraduate Black Music: A Survey Analysis," The Curriculum" in Reflections on Afro- POTtfa K. Maultsby pies which govern popular music are standing of many issues not yet fully ' often polar opposites of European explored by scholars, including: (1) ,, aesthetic values. These factors are im­ the music-making process in black portant to studies that examine the America; (2) the meaning, use, and role of black music in the develop­ function of music in black communi­ . ~ :J~, ., - ment of a multi-billion dolJar com­ •. - ties; (3) the cultural values and tradi­ ., ~ mercial music industry. However, all tions that define the vocabulary, but the last item are irrelevant to an structures, and aesthetics associated assessment of the artistic merit and ·r with the black music tradition; (4) the cultural significance of black popular social and cultural forces that induce music within the context of black change in the black music tradition; communities. The validity of this tra­ (5) the ways in which technology im­ Eiltm Southtm dition can be understood only if ana­ pacts on the function, use, and mean­ lyzed within the framework of urban ing of black music within and outside black cultures. of black communities; and (6) the role Black popular music is a by-prod­ black performers have played in de­ passed for scholarly comment on uct of post-World War II black cul­ fining and redefining directions in black music biography in the past is ture. During and after the war years, American popular music. In essence, inexcusable now that we have The approximately two million southern scholarly studies on popular music New Grove Dictionary of Music (1980) rural blacks migrated to urban cen­ can bring new perspectives to our and The New Grove Dictionary of ters in search of new economic op­ understanding of black music as a American Music (1986), along with the portunities and improved social con­ unique and dynamic dimension of Southern Biographical Dictionary of ditions. Each generation responded the American cultural landscape. Afro-American and African Musicians differently to the realities of life in the (1982). Moreover, new resources for metropolis. The broad range of lyric Eileen Southern the researcher continue to pour from themes that comprise the popular the presses, such as the frequent Da music tradition represents the vary­ Professor Emerita Harvard University Capo reprints (often with new intro­ ing experiences and responses of ductions) of old standards and the re­ black people to the circumstances In recent years our understanding cent publications of the Oxford and that impact on their lives. The com­ of Afro-American music has been ad­ University of Illinois Presses, which plex of styles that make up this tradi­ vanced by new research into the his­ set high standards for quality as well tion illustrates the diversity of musi­ tory of this music, as well as by the as quantity in biographical writing. cal expression that exists within and reprinting of old classics (if we may Despite impressive progress made among various generations of blacks. use that term). Certainly the historical in the field of black-music histori­ An analysis of these styles reveals surveys of Roach and Southern, ography in the past decade or so, the that they embody basic qualities dis­ among others, along with the reprints job has scarcely begun. We have the tinctive to all black music and cul­ of Trotter and Cuney-Hare, have general overview; now we need the tural forms. helped to lay a solid base for further particulars, which will contribute to a Black popular music exists within a investigation into the history, which deeper understanding of what is at network of cultural traditions, all of now may take the form of in-depth issue. The literature, for example, which share a core of common quali­ studies of musical practices in spe­ lacks a sophisticated methodology for ties. In rap music, for example, the cific places. Models for this kind of use in discussing black musicians and structure, rhythm, and vocal inflec­ research are offered at the biennial their music, one that employs musi­ tions are grounded in the principles conferences sponsored by the Center cal analysis and criticism as well as of black speech. Its lyric themes are for Black Music Research, where dis­ narrative. In addition to local histo­ derived from various verbal folklore cussion is focused on local history­ ries, there is a need for more explora­ genres, and its delivery style is pat­ such as New Orleans at the 1987 con­ tion in the fields of musical theater terned after that of black preachers. ference-and the most important pa­ and opera, the concert stage, and oral In-depth analyses of song lyrics, mu­ pers are later published in the Black traditions, among other fields. Signifi­ sical structures, and aesthetics can re­ Music Research Journal. More and cantly, great strides are taking place veal qualities that distinguish various more frequently, other journals too in the field of black sacred music, popular music styles and those that are publishing articles in the field of which now boasts its own scholarly link black musical genres and cul­ local, Afro-American music history. jouma.I, Jon Michael Spencer's The tural traditions to each other. The picture is even brighter in the Journal of Black Sacred Music (which The study of black popular music area of biography. The kind of slop­ began publication in 1987), and is within its sociocultural and historical py, generalized, sentimentalized, and well represented in other journals, contexts can enhance our under- frequently erroneous writing that has such as Rejoice! The Gospel Music Mag- 12 azine, published by the Center for the their works are a part of a cultural cography, and of basic biography. Study of Southern Culture at the Uni­ heritage we have legitimately chosen But to point out that we do not yet versity of Mississippi. Finally, with a to adopt and perform? have a really major biography of a few exceptions-most recently Gil­ I think not-or not exactly. Our single major jazz artist is to point out bert Chase's new, third and revised symphonies, our opera companies, something that should be obvious to edition of America's Music (1987}­ and our chamber ensembles are there us all. To point out that there is no black-music history has not yet been not so much because any of the pre­ authentic body of scores available for admitted into the mainstream of viously-named men were great musi­ performance-of Ellington, say-is to American music history. There the cal artists as they are because every­ point out something that ought to be black musician is still largely invisi­ one knCJWs that they were great musi­ well-known among our music schol­ ble, except for a Duke Ellington or a cal artists. I can go to almost any col­ ars and researchers. However, sup­ Louis Armstrong. lege, take a music appreciation course pose I were to suggest that a detailed Researchers, the challenge is still from any music instructor, and learn examination of Ellington's strikingly there, and it is imperative. something substantial about those original harmonic language would artists and the musica,1 tradition that take its place as a major study of they built. And that, in tum, is be­ some of the best and most important Martin Williams cause the work on t:hem has been music of this century. And that it Smithsonian Institution done: the work of critical evaluation, could also save our future composers The Congress of our country has musical analysis, biography, music of all persuasions years of study and recently resolved that jazz is a Na­ history, and the careful preservation, analysis on their own. Would I then tional Treasure, aind whereas such a editing, and publication of scores. In be pointing out the obvious? declaration expresses an implied faith short, all the important work of criti­ Such work would also give every in the music's future, it must surely cism and musicology has been done future jazz musician a stabilizing and have been made on the basis of an il­ on those composers. That kind of in­ confident sense of his own heritage lustrious past. One might therefore tellectual support mak,es performance and its high accomplishments and of ask where that treasure exists and possible, makes it wanted, and ulti­ his own position in that heritage-­ how one might better acquaint our mately gives it the respect and pres­ something which few jazz musicians countrymen, including our future tige it must have to survive and pros­ have ever had-and that all of us as generations, with its accomplish­ per. citizens ought to have as well. ments. Scholarship helps three hundred Our jazz men and women have One way it exists is on recordings, years of European concert music done diligently, often brilliantly, by of course. Another is (or can be) in thrive as a body of living art for pres­ their tasks. Should our intellectuals written form, and that fact, as the ent and future generations. And the and academics not now do as well? growing jazz repertory movement urgent if obvious job of American music scholarship, surely, is to bring shows us clearly and regularly, is a Josephine Wright valid and vital source for preserving its disciplines to bear on the survival The College of Wooster that past, keeping it alive, and bring­ and performance of American music. ing it to audiences. In jazz such needs have so far been The history of black musicians in Still, one might imagine that, at the met by amateurs (to use that valuable Europe dates from the seventeenth very moment that Congress gave the word in its original French sense) century (or earlier) with the introduc­ music its official approval and im­ who have done the basic work of tion of African trumpeters and drum­ plied faith, a group of jazz musicians musical sorting and criticism, of dis- mers in European armies, and it con­ and their avid followers might have tinues today in the twentieth century been complaining, with considerable with celebrated concert performers, justification, that jazz was a misun­ composers, and conductors who have derstood pursuit, a neglected art made appreciable contributions to the without nearly the prestige and sup­ concert life of Europe. Undoubtedly, port that its "classical" counterpart the most promising area of inquiry in has in our nation. this field presently is the study of pi­ Under the circumstances, one oneers of the nineteenth and early might ask where that evident pres­ twentieth centuries who made incur­ tige, respect, and support for Bach, sions into the concert life across the Mozart, Beethoven, and Debussy Atlantic Ocean and laid foundations come from? Do our tax-supported there for the favorable reception of arts centers exist because we believe black artists of our own generation. Evidence suggests that between 1800 that Handel and Haydn, Verdi and M,,rtin Williams Wagner are great composers and that and 1900 the bulk of these classically 13

France and Germany at the end of black American conductors of sym­ the nineteenth century and moved phonic orchestras who were forced to within the mainstream of the musical work abroad because of racial preju­ establishments there, but who have dices against them in the land of their not been fully investigated- notably birth (particularly Edmund Dede and violinists Joseph White (1835-1911), Dean Dixon). Moreover, black com­ Claudio Jose Domingo Brindis de posers who flourished in Europe in Salas (1852-1911), Jose Julio Jimenez bygone years generally have been (d. after 1880); ceUist Nicasio Jime­ overlooked in the literature-most nez-Berra (d. 1891); and pianist Jose notably, Joseph White (who com­ Manuel Jimenez-Berra (1855-1917). posed and published a considerable Josq,ltine Wright Also neglected have been in-depth amount of musical literature for the studies of our own Afro-American violin and string ensembles in prima donna singers in Europe in the France), Jose Manuel Jimenez-Berra, trained musicians were active princi­ late nineteenth century and the open­ Edmund Dede, and Amanda Al­ pally in England, France, and Austro­ ing decades of the twentieth century, dridge (a.k.a Montague Ring, whose Germany, and that some later flour­ e.g., Marie Selika (ca. 1882- 1885), collected works need to be located ished in Italy and eastern Europe in Sissieretta Jones (during the 1880s), and cataloged). the pre-World War I era. These musi­ Rachel Walker (a.k.a Lucie Lenoir, Scholarly publications of thematic cians were highly skilled, talented 1897- 1915), Lillian Evanti (ca. 1925- indexes and editions of the music of concert performers, composers, con­ 1930), and Caterina Jarboro (ca. 1926- black composers are also sorely lack­ ductors, and educators, and they 1930), as well as Emma Harris, ing, and concerted efforts should be were drawn primarily from Cuba, the Coretta Arle-Tilz, and Georgette Har­ made by scholars in the next decade United States, and the European con­ vey, who were known in Russia as to make this neglected source of mu­ tinent itself. performers in the pre-World War I sical literature available to the public Most intriguing are the Afro­ years. for study, performance, and inclusion Cuban musicians who flourished in Equally ignored have been the in classroom instruction.

1989 National Conference on Black Music Research Abstracts of Papers

The Center's 1989 National Confer­ Melodies de Negres," and "Caprice tune "La Bamboula" in "Caprice No. ence on Black Music Research, to be de Concert No. 2: Melodies de Ne­ 2." Perhaps Boone is acknowledging held in St. Louis, Missouri, during gres." Like the majority of Boone's the influence of black musicians who October 12-14, will focus on black works, these pieces are virtuosic and inspired and helped him with his ca­ music in St. Louis and its general vi­ idiomatic, using an imaginative ap­ reer. cinity. Following are abstracts of the proach to the piano's potential sound. It also seems likely that Boone is papers to be presented at the meet­ Such compositional skill puts Boone commenting on the world around ing. The entire schedule of events in a small group of Afro-American him through his music. The United will be announced in a brochure for pianist-<:omposers who wrote concert States of 1893 was a world of contra­ the joint meetings of the Center and pieces in addition to functional dance diction for black people. On one the College Music Society. arrangements, sets of variations, and hand, Antonin Dvorak encouraged ceremonial music. (This group would Americans to consider the spiritual as include Thomas Greene Bethune and a foundation for American music; at John W. "Blind" Boone, the Lambert brothers, Lucien and the same time, oppressive "Jim Pianist-Composer: Merit, Not Sydney, who later emigrated to Eu­ Crow" legislation sanctioning segre­ Sympathy Wins rope.) The charm and freshness of gation appeared in many states, sig­ Ann Sears these caprices qualifies them for the naling what many historians have In 1893 the St. Louis publishing concert stage today. called "the failure of Reconstruction." firm of Kunkel Brothers published Of particular interest are the refer­ Boone's titles may contain a political two pieces by John William "Blind" ences to black identity in the titles comment about the importance of Boone: "Caprice de Concert No. 1: and in the musical references to the community in troubled times. An ex- 14 amination of his concert career pieces with which he established his ing Starks, and it preserved the basic through programs, reviews, adver­ reputation as "The I

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. sub­ tural activity in black American music and is Information submitted for inclusion should be scribers or $5.00 (U.S.) for those abroad, intended to serve as a medium for the sharing mailed to: Samuel A Floyd, 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 a:nd activities in universi­ 600 South Michigan Avenue, Chicago, lllinois South Michigan Avenue, O\icago, Illinois ties and research centers. 60605-19%. 60605-19%. Telephone: 312/663-9462.

Editor: Samuel A. Floyd, Jr. Associate Editor: Orin Moe Production Assistant: Trenace V. Ford Managing Associate Editor: Marsha J. Reisser Associate Editor: Rae Linda Brown @ 1989 Columbia College