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Fall 9-1-1987

Black Music Research Newsletter, Fall 1987

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1987" (1987). Center for Black Music Research: Black Music Research Newsletter. 25. https://digitalcommons.colum.edu/cbmrnews/25

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NEWSLETTER. C B \I R COLUMBIA COLLEGE CHICAGO Vol. 9, No. 2 ISSN Number 0271-3799 Fall 1987

Chicago's Jazz Trail: 1893-1950 by Dempsey/. Travis, Chicago, [llinois

Chicago's 1893 World Columbian Ex­ The Haitian Pavilion was an in­ or mentally drained while working in position was the magnet that attracted cubator for jazz music; it was there that Sedalia or St. Louis, he would return hundreds of black itinerant musicians, Scott Joplin and others discovered that to Chicago to be rejuvenated by the entertainers, intellectuals, and hustlers many of their fellow black musicians beauty of Lake Michigan, the smell of to its doorsteps. They all came to had developed musical skills in isola­ the stockyards, and the sounds of the Abraham Lincoln's city by the lake in tion from each other in various sections honky tonks in the red-Llght district. search of opportunities to display their of the country and had created an orig­ Scott Joplin's last-known Chicago ad­ talents. Talented individuals, such as inal art form that had common ele­ dress in 1899 was 2840 Armour Avenue W. C. Handy, the father of the blues, ments endemic to black life styles. (now named Dearborn Street). Armour Scott Joplin, the king of ragtin1e, Fred­ Scott Joplin was overwhelmed when Avenue was one block west of State erick Douglass, the abolitionist and he first heard the W. C. Handy Or­ Street, the street that inspired Shelton author, Bert Williams, the master com­ chestra, at the Haitian Pavilion, play Brooks to write "Darktown Strutters' ic, Ida 8. Wells, the freedom fighter, arrangements that incorporated ele­ Ball." In 1917 Joplin frequently strolled James Weldon Johnson, author and ments of both Memphis and Missis­ from his small apartment over to State musician, W. E. B. DuBois, author and sipf)i ragtime. In addition, he marveled Street, where he heard strains of his black liberation leader, Paul Laurence at the piano technique and style of such "Maple Leaf Rag" floating out of the Dunbar, the poet, and Jesse Binga, musicians as Arthur Marshall and windows of the houses of joy on hot Chicago's first black banker, left their Louis Chauvin, two of Chicago'.s best­ summer evenings as it was being footprints on the steps of the Haitian known bawdy house piano players. played on the pianolas. Pavilion, the center of black entertain­ Joplin was inspired by Chicago'.s awe­ Scott Joplin was the undisputed ment on the Columbian Exposition some musical environment. As a mat­ grounds-what today is Jackson Park. ter of fact, whenever he felt physically Continued 011 page 2

Announcing ... In 1988 the Center's publications program will see several changes. Black Music Research Journal, which has been an annual publication, will now appear twice yearly, in spring and fall. Black Music Research Newsletter has grown in length and changed in character so that it is no longer really a newsletter. Beginning with the next issue-Vol. 10, No. 1-Newsletter will become Black Music Researcl, Bulletin. 1n addition to the title change, the content will reflect the publication's trend toward more substantive, preliminary research articles and columns. The newsy columns will appear in a new publication, issued free of charge to all of the Center's subscribers and patrons, to be titled CBMR Digest. This new publication will also contain more information about the Center for Black Music Research and its activities. Simultaneously with these increases in the number and frequency of the Center's publications comes a rate increase. The subscription rate for BMR Journal in 1988 will be $15.00 for domestic subscribers and $20.00 for foreign subscribers; the new rates for BMR Bulletin will be $3.00 for domestic subscribers and $5.00 for foreign subscribers. It is our hope that these changes will result in a greater ability to serve the needs of our constituency. 2

Jazz Trail, continued bly with State Street for the trade of Smith, and Clara Smith. Just a couple the after-sunset merrymakers. It had of blocks south, at 3435 South State king of ragtime composers and piano the Entertainers' Cafe located at 209 Street, was the Monogram Theatre, players. However, the bridge between East 35th Street, where Clarence where Ma Rainey was featured with ragtime and jazz was built by one of Muse, who later became one of Hol­ such acts as Sleepy Harris and his young admirers, Ferdinand "Jelly lywood's black movie star legends in Stovepipe Johnson-major stars of Roll" Morton, who also spent a great his lifetime, did shows that featured that period. On the other hand, the deal of time on Chicago's State Street. artists such as the beautiful Marian State Theatre at 3509 South State Joplin, Morton, and Porter King col­ Harrison, who was supported by a Street was strictly a movie house. The laborated on a work called "King Por­ dozen other top-notch acts. Down the management employed a pianist and ter Stomp." The tune was named in street at 315 East 35th Street, on the a drummer to play mood music to en­ honor of King after the deaths of both southwest corner of Calumet Avenue, liven the action of the silent films . Joplin and King. However, "King Por­ was the Sunset Cafe, where Carroll The decision to relocate Chicago's ter Stomp" was not immortalized Dickerson and his sixteen-piece or­ black jazz scene from the 3000 block until 1924 when it was recorded in chestra played music for an all-star re­ on South State to 47th and South Park­ Chicago by King Joe Oliver, Louis view. Featured was the diminutive way (King Drive) was made in the fall Armstrong's mentor. It was recorded and dynamic Frankie "Halfpint" of 1926 by a small syndicate of white, again the following year by the Jackson, who scatted and cavorted New York investors who had reaped Fletcher Henderson Orchestra. How­ across the stage with a rhythmic huge profits from their newly-built ever, it was Chicagoan Benny Good­ background support of ten beautiful, Savoy Ballroom, located in the heart man's 1935 rendition of the Fletcher "high-yellow" chorus girls. of New York City's Harlem. The Savoy Henderson arrangement that gave the Diagonally across the street from Ballroom, which later became known tune national prominence. the Sunset Cafe was the Plantation as "The Home of Happy Feet," was State Street and its environs were Cafe at 338 East 35th Street, a popular reputed to be the largest ballroom in training grounds in jazz for white black and tan cabaret known for its America, white or black; it covered musicians such as Benny Goodman, heavy drinkers and all-night dancers. the entire block between 140th and Bix Beiderbecke, Tommy Dorsey, Paul A large number of white students 141st Street on Lenox Avenue. Since Whiteman, Red Norvo, and Bunny from the universities frequented all of Chicago offered the country's second Berigan. One of State Street's earliest the South Side's black and tan night· highest concentration of urban blacks, jazz laboratories opened its doors on clubs. These nightclubs were the mus­ the New York investors decided to June 18, 1905. It was Bob Motts's Pekin ical homes of such stars as Earl Hines, build a Midwest Savoy. Temple of Music, which was located Cab Calloway, Eddie South, Ethel Chicago's beautiful Savoy Ballroom at 2700 South State Street. Shelton Waters, Blanche Calloway, Alberta opened on Thanksgiving Day, 1927, Brooks was working at the Pekin in Hunter, and the Sammy Stewart Or­ with two red-hot musical aggrega­ 1910 when he created the words and chestra. tions: Charles Elgar's eighteen-piece music to his famous song "Some of In addition to State Street being the These Days," which was later center of the cabaret district, it was adopted by Sophie Tucker as her also the "Broadway of the Black Belt." theme song. There were fifteen vaudeville and The prototype for high-class black movie houses between 31st and 35th and tan (black and white) cabarets of on State Street. Even the smallest the­ the 1920s and 1930s was opened in ater hired at least one pianist or organ 1912 by Jack Johnson, the world's first player to accompany the silent pic­ black heavyweight boxing champion. tures. As a matter of fact, the late Johnson's club was located just four Count Basie worked in Chicago in the blocks south of the Pekin at 42 West early twenties as an organist at one 31st Street. Black and white musicians of the State Stre-et theaters. In con­ gathered at Johnson's Cafe De Champ­ trast, the larger houses, like the Ven­ ion to hear the latest red hot jazz dome Theatre at 3145 South State music. Street, employed Erskine Tate and his Two main jazz arteries branched off thirteen-piece symphonic jazz or­ South State Street; they were 31st and chestra along with such stars as Teddy 35th streets. Both streets were heavily Weatherford, who was considered the sprinkled with cabarets and dance champ of the ivories. Prior to Earl halls such as the Royal Garden on 31st Hines's arrival in Chicago, Fats Waller near Grand Boulevard (the name was was also an intermission organist for officially changed to South Parkway the Tate band at the Vendome Theatre. Erskine Tate in 1923 and to Martin Luther King Directly across the street was the Drive in 1968), where Louis Arm­ Grand Theater, which was considered The Negro in Chicago, 1779-1929, vol. 2 (Chicago: Was/1i11gton l11tercollegiate Club of strong initially joined the King Oliver the home of vaudeville acts such as Chicago, /1929/). umrtesy, V"widn Harsh Collectio11 Orchestra in July 1922. Butterbeans and Susie and such great of the Carter G. 1'\bodson Regional Library, Chicago Thirty-fifth Street competed favora- blues belters as Marnie Smith, Bessie Public Library. 3 orchestra and Clarence Black's four­ teen-piece band with strings. Ethel Waters was the guest soloist on the Saturday evenin g following the grand opening. On February 4, 1928, the Moorish-architecture-influenced, 3500-red-plush-seat Regal Theater opened right next door at 4719 South Parkway (King Drive) with two large bands- Fess Williams on the stage and Dave Peyton in the orchestra pit. In the meantime, the brand new Earl Hines Orchestra opened the Al Capone-controlled Grand Terrace Cafe at 39th and South Parkway. By the spring of 1928 Chicago's major jazz scene had shifted from 35th Street to 47th and South Parkway. There were 140 black musicians represent­ ing at least ten orchestras working Walter Barnes' Bninswick Recording Orchestra full-time within a radius of 160 feet Members of the Orchestra (Left to Right): George Thigpen, 1st cornet; Leon Scott, 2nd from the southeast corner of 47th and cornet; Edward Burke, 1st trombone; Wm. Bradley, 2nd trombone; Irby Gage, reeds South Parkway. and flute; Lucius Wilson, reeds and flute; Wilson Underwood, reeds and flute; P. Joh11so11, Between 1928 and 1948 every piano, orgnn, 11ccordio11; Richard Bates, banjo 1111d violin; Wm. Winsor, dmms mid "name" jazz orchestra and act in xylophone; Lewis Tho111pso11, tuba and bass violin. America played the Regal Theater or the Savoy Ballroom and sometimes The Negro in Chicago, 1779-1929, ""'· 2 /Chicago: W11sM11glo11 lr,lercolleginle Club of Chicago, /1929/). both. The long list of great talents in­ Courtesy, Vivian Harsh Collectio11 of the Carter G. i'loodso11 Regio11al Ubrnry, Chicago P"blic Library. cluded the Mills Brothers, Bill "Bojangles" Robinson, Duke El­ the Club Delisa. The club opened for because it included such stars as Joe lington, Jimm.ie Lunceford, Nat the World's Fair of 1933 in May of that Williams, the Stepp Brothers, the Al­ "King" Cole, Noble Sissie, the Whit­ year and kept its doors open twenty­ bert Ammons Orchestra, and the Red man Sisters, Chilton and Thomas, the four hours a day for the next twenty­ Saunders Orchestra, just to mention Nicholas Brothers, Don Redman, five years. Visiting Club DeLisa was a few. There were other famous clubs Claude Hopkins, Fats Waller, Benny on the "must" list of every celebrity on Garfield Boulevard, staffed with Goodman, Lucky Millinder, Charlie who came to Chicago. The many stars great bands and shows, such as the Barnet, Gene Krupa, Lionel Hamp­ who could be found seated ringside Rhumboogie, the Hurricane, Club 65, ton, Count Basie, Sammy Davis, Jr., at Club Delisa on various occasions the It Club, and White's Emporium, John Kirby, and thousands of others. included Bob Hope, 'Bing Crosby, Paul where the great Coleman Hawkins The Garfield Boulevard (55th Street) Robeson, John Barrymore, George held forth when he returned to jazz scene was d eveloping at the same Raft, Pat O'Brien, Sidney Poitier, Chicago from Europe i11 1941. time the Regal and Savoy were mov­ Louis Armstrong, and hundreds of From 1893 to 1950 there was not a ing into high gear on 47th Street. The others. The club's entertainment single city in America that could com­ most famous club on 55th Street was menu was among the best in town pete "vith the Chicago jazz scene.

Black Concert Music in Chicago, 1890 to the 1930s by Ellistine Perkins Holly, Jackson State University

Black concert life in early twentieth­ tals. Concert-goers could look forward churches promoted cultural activities century Chicago was an interesting mix to big events such as concerts by nation­ and sponsored concerts and recitals by of church Lyceum and Sunday Clubs, ally known black "prima donnas," black artists. Olivet had a Choral Study jubilee troupes, dramatic and music black army bands, and large traveling Club as early as 1878 (Trotter 1969, 321- concert companies, cl1ora l clubs, and, shows. Churches in Chicago's black 323). occasionally, theater concerts and reci- community date from the founding in In 1900 Pedro T. Tmsley (1856-1921) 1847 of Quinn Chapel A.M.E. Church, organized a Choral Study Club that had which was active in the underground its home at Institutional Church, Research for /his article was beg1111 d11ri11g 11,e founded by Reverdy Ransom in that summer of '1985 wlren tire a11thor participated in an railroad. La ter, the Quinn, Bethel NEH Summer Scmi,.ar for College Teachers l,e/d at A.M.E., Olivet Baptist, Grace Presbyte­ the Center for Black Music Rese11rcl, . rian, St. Marks M.E., and Institutional Continued on page 4 4

Concert Music, conti1111ed presented talented artists to raise funds Composers Concerts of 1913-1916 for the purchase of an organ from the brought black artists and composers German Building at the Columbian Ex­ from other cities to Chicago; the aim position of 1893. Thus began an annual of the concerts was "to exploit the event featuring black artists such as creative talents of the Negro, so that actor Richard B. Harrison, singer Sis­ when the music of this country, sieretta Jones, and violinist Felix Weir known as American Music, has (King [n.d.l). reached a high plane of d evelopment, Chicago's choirs became synony­ the Negro can show that he has had mous with good choral singing. Some a part in its making" ("AU Colored of the early choral directors were: Mar­ Composers Concerts" 1916, 9). ion R. Adams, Martha Anderson, Composer DeKoven Thompson George R. Gamer (1890-1971), James (1879-1934) came to Chicago in 1881 Mundy (1886-1978), Edward F. Mor­ from St. Louis, Missouri, His ballads ris, N. Clark Smith, T. Theodore for solo voice were popular during his Taylor (1885-1965), and Richard Kelly. day and included titles such as "Love The Chicago Umbrian Male Glee Come But Once," "A Heart Dis­ Club, founded in 1895 at Bethel closed," and "If I Forget." Lyrics for A.M.E. Church and still active today many of his songs were written by as a concert group, is the oldest black Alfred Anderson, who collaborated group of its kind in the United States. with the composer to write "Dear Arthur A. Brown and the group's Lord Remember Me" ("James DeKo­ other founders conceived the Club "to ven Thompson" 1913, 6; Woods 1916, enrich the community through the 15-16; Hare 1974, 227). medium of fine choral music" Emma Azalia Hackley (1867-1922), (Chicago Umbrian Male Glee Club). soprano, devoted her later career to Major N. Clark Smith The literature performed by the Glee organizing and conducting "Black Club represented a wide range of Folk Song Festivals" a nd promoting The Negro in Chicago. 1779-1929, z>ol. 2 styles, including works by J. S. Bach, black vocal artists (Holly 1978, 43-45). /Chicago: l~l>~lt111glo11 lnterrolll'gmt, Club of Chicago, /1919/). CoJ1rtesy. \lipin11 Harsh Collrrtio11 Handel, Sibelius, Mozart, and Bee­ Two of her students, Florence Cole of the Carter C. ~\bocfso11 &g1011al Library. Clurago thoven, as well as Afro-American Talbert (1890-1969) and Cleota Collins P11blic Libmry. spirituals arranged by R. Nathaniel Lacey (1893-1976), were prominent on Dett (1882-1943), Harry T. Burleigh Chicago's concert stages. Talbert re­ same year (Ransom 1944, 19). The pur­ (1866-1949), Hall Johnson (1888-1970), ceived the Diamond Medal in 1916 pose of linsley's club was "to maintain and William L. Dawson (b. 1899). from Chicago Musical College; Col­ a chorus for the study and performance Lighter repertoire included folk songs lins, a native of Ohio, began teaching of modem works, as well as to present and operetta choruses (Chicago Umb­ at black colleges after her retirement the great choral compositions of the rian Male Glee Club; "History of from the concert stage ("Art and best masters, assisted by prominent Music in Chicago"). Music" 1919, 287; "Florence Cole Tal­ soloists of the race" ("Art and Music'' Chicago's Pekin Theater became a bert" 1916, 9). 1912, 231). The Oub sang works by center of musical activity in the black Marian Anderson (b. 1902), con­ Handel, Coleridge-Taylor, Dubois, community early in the twentieth cen­ tralto, appeared in Chicago in 1922 as Cowan, Gall, and other noted compos­ tury. A number of Pekin musicians a soloist with the Umbrian Male Glee ers. Kemper Harreld (1885-1971) was were college- and university-trained, Club. While in the city, she received the first conductor of the Choral Club and others had studied at leading con­ a scholarship from the National As­ orchestra, and N. Clark Smith (1877- servatories and with private teachers. sociation of Negro Musicians and per­ 1933) served as one of its directors For many, the Pekin years, beginning formed a program of Schubert songs (see photograph above). In 1912 the in 1905, provided valuable training with Cleota Collins. Her next visit was group sponsored local and national ar­ and experience for their later ac­ in 1929 at Orchestra Hall (Holt 1922, tists at lnstitu tional Church, among complishments. Among the musi­ 5). them tenor Roland Hayes. The Chicago cians who performed there were Will Early Chicago singers were not very Defender covered the activities of the Marion Cook (1869-1944), Shelton successful in their efforts to enter the group until it disbanded in 1927, having Brooks (1886-1975), James "Tun" field of opera in the United States, but had on the club roster such names as Brymn (1881-1946), Abbie Mitchell they did perform o pera abroad. Robert Abbott (founder of the Chicago (1884-1960), Flournoy Miller (1887- Mayne Calloway-Bryon, soprano, Defender), Anita Patti Brown, Walter 1971) and Aubrey Lyles (1883-1932), took her operatic training abroad and Gossett, and Maude Robert George Oliver Perry, William Tyler, Joe Jordan performed with opera companies in (Southern 1982, 376). (1882-1971), H. Lawrence Freeman Munich and Dresden. Florence Cole "The June Rose Concert," one of the (1869-1954), and Elizabeth "Lizzie" Talbert sang the title role of Verdi's earliest of Chicago's black concert Hart (Southern 1983, 347-348; "The Aida in Cozenza, Italy, in 1927 (Hare events, originated in 1926 at Quinn Pekin Theater"). 1974, 369). La Julia Rhea (b. ca. 1908) Chapel. In its first concerts the Society William H. Hackney's All Colored made her soprano debut in Kimball 5

Hall in 1929, and eight years later she there is no evidence that the Sym­ Lee founded the Chicago University and William Franklin (b. 1906) made phony continued thereafter as a of Music, which had on its faculty N. their operatic debuts in Aida in group. But extant sources show sev­ Clark Smith, Florence Cole Talbert, Chicago-Rhea in the title role and eral orchestras in elcistence during the Clarence Cameron White (1880-1960), Franklin as Amonasro (Southern next two decades. Kemper Harreld Hazel Harrison (1883-1969), and other 1983, 407-408; Lucas 1940). was listed as the orchestra conductor black musicians. The school was Pedro T. Tinsley, N. Clark Smith, E. in the "Official Program of the highly respected in the Chicago com­ Azalia Hackley, and James A. Mundy National Half-Century Anniversary munity and continued instruction were all pioneer musicians in Exposition" (1915). Charles Elgar into the late twenties (Harrison 1939; Chicago, their careers spanning the founded the Elgar Orchestra about Didier 1922, 6). period 1880-1978 (Buckner 1985, 36- 1917, and in the 1920s and early 1930s, For almost seventy-five years, 42; Robb 1927, 47; "The Vocal Teacher" Harrison Ferrell organized the Ferrell James A. Mundy, choral director, com­ 1916, 6). Tinsley arrived in Chkago Symphony Orchestra. Smith returned poser, and arranger, influenced the sometime during the 1880s and began to Chicago in 1916 to organize the high quality of cl1oral singing in performing as a cometist and as band, orchestra, and chorus for the Chicago. Mundy organized several baritone soloist on local concerts. He Pullman Company (Handy 1981, 4, 8, semiprofessional singing groups, di­ soon became one of the most sought· 71). rected church choirs, and was a foun· after voice teachers, according to the Mme. E. Azalia Hackley had be· der of early black opera groups. His Broad Ax and the Chicago Defender. His come very familiar to Chicago's black community choral groups performed vocal manual, To11e Placing 1111d Voice concert community by the time of her oratorios in Chicago's concert halls, Deve/opme11t, was advertised in the "Retiring Song Recital and Vocal De­ often accompanied by members of Crisis ("Of Interest to Vocal Students" monstration" at Orchestra Hall in 1911 the Chicago Symphony Orchestra. 1912, 265). (Holly 1978). Aware of the musical Mundy's Federal Singers were very ac­ N. Clark Smith is listed in the needs of Chicago's growing black tive between 1937 and 1939 as a part Colored People's Blue Book and Business population, Hackley had opened the of the Chicago Federal Arts Project, Directory (Bethea 1905) as the director Normal Vocal Institute in 1914 in singing opera selections, traditional of the Chicago Jubilee Choir and Sym· Chicago "to teach vocal teachers and choral music, and spirituals on phony Orchestra, Bethel Choir, train voices for concert work" (Henry concert programs in the city (Lewis Ladies' Mandolin Club, 8th Regimen­ 1939b; "Mme. E. Azalia Hackley" 1940; "Composers Forum Programs"; tal Band, Quinn Chapel Sunday 1914, 6). The Institute closed some­ Southern 1982, 284). School, and Ladies' Orchestra (see ac­ time during 1916 or 1917, but Hackley's Other Chicago musical pioneers companying photograph). Smith left vision of a music school for aspiring were Albert and Arthur Dunham, Chicago in 1907 for a teaching position black performers was later realized by father and uncle of dancer Katherine at Tuskegee Institute in Alabama, and one of her students. Pauline James Dunham. Both men were instrumen­ ta lists and charter members of the Umbrian Male Glee C!ub ("Sunday Club Musicale" 1901, 3; Beckford 1979, 12). Violinists Felix Weir (1884-1978), Harrison Emmanuel, Kemper Her­ reid, and their contemporary N. Clark Smith were young music students in 1900. They studied at the Chicago Musical College and with private teachers and were also involved in the musical activities of the black com­ munity. After a short period of study in Ger· many, Weir returned and began play­ ing in local string ensembles. He as­ sisted Samuel Coleridge-Taylor in his recitals in the United States in 1906 and performed with Mme. Hackley and with pianist Mary Europe during 1907 in Washington, D.C. Weir moved to Washington about 1911 and had a successful career as a solo violinist; in the 1920s his Negro String Quartet was active on the New York music Major N. C. Smith's Ladies Orchestra, 1905 scene (Southern 1983, 282-283; Woods 1916, 15-16; The Negro in Chicago 1927, The Negro in Chicago, 1779-1929, vcl. 2 (Chicago: Washi11gto11 Intercollegiate Club of Chicago, 11929)). Courtesy, Vivia11 Hars/1 Collectio11 of the Carter G. Woodso11 Regio11al Library, Chicago Public Library. Continued 011 page 6 6

Concert Music, continued

123; Bethea 1905, 131). Composers Forum, Federal Music Project Harrison Emmanuel, son of Fannie of the and William Emmanuel, both chi­ Works Progress Administration Compositions ropodists, studied violin with Leopold Auer. Mme. Hackley encour­ by aged his music studies and sponsored Clarence Cameron White and Florence B. Price one of h.is first recitals in St. Louis in June 15, 1937 1910; he made his debut recital in 1912 Federal Music Project Building at Kimball Hall, playing works by Chicago, Illinois Wieniawski and Kriesler. Emmanuel remained in Chicago as a violin teacher and continued to perform as Program a soloist and with local orchestras ("Harrison Emmanuel" 1912, 11 + ). I. Suite fo-r String Quartet (1919) . Clarence Cameron White One of Chicago's nationally recog­ Prelude nized sopranos was An.ita Patti Dawn Brown, who arrived in Ch.icago about Jubilee 1899. Brown received a scholarship to Hallelujah Chicago Musical College, traveled ex­ Forum String Quartet tensively giving concerts, and fre­ Royal Johnson, 1st Violin quently performed in the Chicago Lewis Pupillo, 2nd Violin area. Her voice was often described Harry Schwartzenstein, Viola by the critics as "sweet." Brown's Jenska Slebos, Cello programs always included one or two of the famous soprano arias by Verdi, 11. Octet, The Wind and the Sea (1934) .. Florence 8. Price Donizetti, Meyerbeer, and other (Words by Paul Laurence Dunbar) opera composers (Henry 1939a; Sallie Wa lker and Ori ta Wilson, Sopranos Southern 1982, 49-50). Helen Penn and Marguerite Clarke, Altos In 1927 Florence Price (1888-1953) Walter E. Cossette and Alexander Parks, Tenors came to Ch.icago, where many of her Shelby Nichols and S. Wellington Martin, Basses compositions were published and per­ Florence B. Price, Piano formed. In 1937 works by Price, and Forum String Quartet by Clarence Cameron White, were performed by local musicians in a WPA-sponsored series of Composers III. FANTASIENEGRE No. 4 in B Minor, for Piano (1932) ...... Florence B. Price Forums featuring the music of Ameri­ can composers (see program repro­ (First Performance in Chicago) Marion Hall, Piano duced at right). With the influx of Southern mi­ grants into Chicago during the twen­ IV Qu.intet in E. Minor (1936) ...... Florence B. Price ties, black professional musicians and ALiegro ma non troppo black music audiences increased. Andante con moto Hundreds of black music teachers Juba from the South enrolled in Chicago Scherzo music schools for summer study. For Forum String Quartet the ambitious and talented, study at Marion Hall, Piano the Chicago Musical College was the goal, and for many it meant success Used by Permissio11 of the 11/iuois State Historical Library. Federal Writers Project. on the concert stage and in other mus­ 11/iuois Records. Box 250, Fl. 6 ical endeavors. One of the first black graduates of the college was Gertrude J. Wash.ington, wife of actor Richard B. Harrison ("Men of the Month" cert appearance was reported in the Berge at American Conservatory. Win­ 1915, 116-117). major Chicago papers, and his picture rung a vocal contest sponsored by the Two black concert artists of the appeared on the cover of the Music Society of American Musicians about years 1925-1935 were pian.ist Hazel News (1932). 1924 or 1925, Gamer appeared as so­ Harrison and tenor George R. Gamer. The Garner family had come to loist with the Chicago Symphony Or­ On February 14, 1932, Garner became Chicago from Virginia. George went chestra under conductor Frederick the first black artist to perform in the on to graduate from Chicago Musical Stock. Gamer and his wife, Netta Chicago Civic Opera House. His con- College and to study with Charles La Paullyn, a concert pian.ist, spent three 7

years in Europe studying and concer­ Buckner, Reginald.. 1985. Rediscov­ cert. 1913. Chicago Defender April tizing. Mrs. Garner made her debut ering Major N. Clark Smith. Music 10:6. in 1928 in London and always per­ Educators Journal 71:36-42. King, Eloise P. The annual June rose formed solo piano selections on her Chicago Defender. 1909-1921. concert: Its origin. Quinn Chapel husband's reci tals. Chicago Umbrian Male Glee Club. A.M.E. Church Anniversary Re­ After returning to the United States Artifacts. Dusable Museum, Chi­ cord, 1847-1967, box 184. Illinois about 1929, the Garners began giving cago. State Historical Library, Spring­ concerts, with newspaper reports de­ Composers forum programs. Unpub­ field, IUinois. scribing Gamer as a dramatic tenor, lished WPA Papers, box 250. Illinois Lewis, George D. 1940. Mundy chor­ "powerful, smooth, and having mar­ State Historical Library, Spring­ isters. Unpublished WPA Paper. velous vocal control." He received ex­ field, Illinois. Vivian Harsh Collection of Afro­ cellent reviews for his singing of Ger­ Crisis. 1910-1916. American History and Literature, man lieder, Italian songs, and Negro Didier, Robert. 1922. From air castle to Woodson Regional Library, Chi­ spirituals (Barnett, folder 1932-1936; university. Chicago Defender August cago, Illinois. Hare 1974, 379). 5:6. The looking glass. 1925. Crisis 31, The period from 1890 to the 1930s Drake, St. Clair. 1940. Churches and no. 2:87-88. were years of significant musical ac­ voluntary associations in the Chicago Lucas, Robert. 1940. Divas and complishments for black musicians in Negro community. Chicago: Works divans. Unpublished WPA Paper. Chicago. It was within the black com­ Progress Administration. Vivian Harsh Collection of Afro­ munity that black musicians created Florence Cole Talbert. 1916. The Half­ American History and Literature, their distinctive sounds and estab­ Ce11t11ry Magazine November:9. Woodson Regional Library, Chi­ lished institutions uniquely Afro­ Handy, Antoinette D. 1981. Black cago, Illinois. American. In 1902 black musicians in­ women in American bands and orches­ Men of the month. 1915. Crisis 9, corporated Chicago Local 208, the first tras. Metuchen, N.J.: Scarecrow no. 3:117. black unit of the American Federation Press. Mme. E. Azalia Hackley will return to of Musicians; in 1905 the Pekin Thea­ Hare, Maude Cuney. (1939] 1974. Chicago. 1914. Chicago Defender ter, the first black-owned theater in Negro musicians and their music. New April 18:6. the country, opened in Chicago; in York: Da Capo Press. Of interest to vocal students. 1912. 1919 the National Association of Harrison, William A. 1939. Music Crisis October 10:265. Negro Musicfans, made up of school and teachers. Unpublished The Pekin Theater. Unpublished WPA teachers, composers, and concert per­ WPA paper. Vivian Harsh Collec­ paper, box 78. Illinois State Histor­ formers, was founded in Chicago and tion of Afro-American History and ical Library, Springfield, Illinois. assumed a position of leadership in Literature, Woodson Regional Li­ Ransom, Reverdy C. 1944. The supporting and encouraging blacks in brary, Chicago, fllinois. pilgrimage of Harriet Ransom's son. the field of classical music; by the Harrison Emmanuel. 1912. The Music Nashville, Tenn.: Sunday School 1930s Chicago could claim promi­ News 4, no. 5:11 +. Union. nence in blues, jazz, and gospel music Henry, Louise. 1939a. Anita Patti The Negro in Chicago, 1779-1929. 1927, (Southern 1983, 305-306; The Negro in Brown. Unpublished WPA Paper, 1929. 2 vols. Chicago: Washington Chicago 1927, 130). ln spite of social, October 11. Vivian Harsh Collec­ Intercollegiate Club of Chicago. economic, and political inequities, tion of Afro-American History and Sayers, W. C. Berwick. [1915] 1969. concert and recital artists at all levels Literature, Woodson Regional Li­ Samuel Coleridge-TayJor, musician: of achievement attained local and na­ brary, Chicago, Ulinois. His life and letters. Chicago: AFRO­ tional recognition. Henry, Louise. 1939b. Normal Vocal AM Press. Institute. Unpublished WPA Paper, Southern, Eileen. 1982. Biographical November 29. Vivian Harsh Collec­ dictionary of Afro-American and Afri­ tion of Afro-American History and can musicians. Westport, Conn.: References Literature, Woodson Regional Li­ Greenwood Press. All colored composers concerts. brary, Chicago, Illinois. Southern, Eileen, 1983. The music of 1916. The Half-Century Magazine, History of music in Chicago. Un­ black Americans: A histon;. 2nd ed. November: 9. published WPA Papers, box 75. Il­ New York: W. W. Norton. Art and music. 1912. Crisis 3, no. linois State Historical Library, Sunday club musicale. 1901. Broad Ax, 1:231. Springfield, Tilinois. July 20:3 Art and music. 1919. Crisis 17, no. Holly, Ellistine Per.kins Lewis. 1978. Trotter, James M. [1880) 1969. Music 6:287. The E. Azalia Hackley Memorial and some highly musical people. Barnett, Claude Albert. Papers. Chi­ Collection of Negro Music, Dance, Chicago: AFRO-AM Press. cago Historical Society, Chicago. and Drama: A catalogue of selected The vocal teacher of ten thousand Beckford, Ruth. 1979. Katherine Dun­ Afro-American materials. Ph.D. Negroes. 1916. The Half-Ce11/ury ham: A biography. New York: Marcell diss., University of Michigan. Magazine September:6. Dekker. Holt, Nora Douglas. 1922. News of Woods, Junius B. (1916] n.d. The Negro Bethea, D. A., comp. 1905. Colored the music world. Chicago Defender in Chicago: A first-hand study. n. p. people's blue book and business direc­ May 10:5. Originally printed in The Chicago tory. Chicago: Celebrity Printing. James DeKoven Thompson in Con- Daily News December 11-27. 8

Black Music at Columbia College Chicago by Gail Sc/111101/er, Columbia College

When the Center for Black Music to develop a music program at Colum­ alities in the field. In 1983 Winton Research (CBMR) was established at bia. Russo brought to Columbia a bud­ Marsalis performed at Columbia's Columbia College in 1982, it was cer­ ding interest in pop and rock music Getz Theater at Russo's invitation. tainly the College's most cogent de­ and a history with jazz that dates back Russo organized Chicago's first an­ monstration of support for music de­ to the early 1950s, when he was chief nual high school jazz festiva l, a com­ rived from the black experience. How­ composer and arranger for the Stan petition among area school bands, in ever, long before the CBMR settled at Kenton Orchestra. He established the December of 1985. Dizzy Gillespie Columbia, the school had supported Center for New Music, whkh was was the visiting jazz clinician the first black music in a variety of ways. later merged with the theater depart­ year. The 1986 festival featured pianist Since President Mike Alexandroff ment to become the theater/music de­ McCoy Tyner in that role. took over the helm of Columbia in partment, and offered programs in Also in 1986 Russo helped revive 1961, the institution's involvement in jazz, rock, and pop at a time when Kicks and Co., the 1961 musical by the American cultural scene has only opera and classical music were Oscar Brown, Jr., about the civil rights flourished, and support of black considered worth studying. In movement. For the 1988-89 season, music has naturally followed. Honor­ Russo's second year at Columbia, Russo hopes to stage Echoes of Hnrlem, ary doctorates conferred at gradua­ Duke Ellington made available to the a musical revue he is creating with tion ceremonies have celebrated those school the material for his second Con­ Columbia theater instructor Cather­ who have "engaged their great talents cert of Sacred Music, and members of ine Slade. The event will contain in important human services and the Center for New Music performed music from the Harlem Renaissance whose life work and example embody it in Chicago with Ellington present. period with a connecting theme re­ the college's ideal and spirit." Many It was the first time an orchestra other vealing Harlem at the turn of the cen­ of the individuals so honored have than Ellington's had played the music, tury. "It's an attempt to present to con­ been musicians and others involved and the event sparked a liaison be­ temporary audiences those marvel­ in the field of black music. Among tween Russo and Ellington that con­ ous sounds heard at the turn of the them are poet Langston Hughes tinued to the latter's death. Russo century," says Slade. (whose works have been set to music staged a second performance of the Playwright/director Paul Carter by a significant number of black com­ piece in 1984 at Columbia's Getz Harrison had a similar objective when posers) (1967), jazz composer/musi­ Theater. he was hired by Alexandro££ as chair cian Duke Ellington (1968), civil rights In the following years Columbia's and artistic producer of the theater/ activist/gospel singer Fannie Lou music and theater students per­ music department in 1!976. Having Hamer (1970), blues musician Chester formed several of Russo's works that served as a professor of theater and "Howlin' Wolf' Barnett (1972), singer/ had been influenced by the black ex­ Afro-American studies on several entertainer Bricktop (1975), record perience. The most famous was The faculties, Harrison had a strong in­ producer John Hammond (1976), Civil War, a rock cantata on which terest in jazz and wanted to bring jazz musician/composer John Lewis Russo collaborated with singer Irma black music and Columbia students (1984), and music historian Eileen Routen in 1968; it dealt with the civil together. His first theater production Southern (1985}. rights movement and was dedicated at Columbia was an epic poem by Mar­ Under the guidance of Alexandroff, to Dr. Martin Luther King, Jr. In the tinique poet Amie Cesaire, Return to the goal at Columbia has always been early 1970s Russo's Three-Penny Opera My Nntive l.nnd, with music scored by to provide equal educational oppor­ was produced, with the music di­ the AACM's Threadgill and per­ tunities for the community and pro­ rected by Henry Threadgill, one of the formed by an all-black cast. grams that are responsive to the in­ gifted young members of the Associa­ "I wanted to provide .an opportun­ terests of the arts and the social wel­ tion for the Advancement of Creative ity for Chicago musicians to be able fare of Chicago. In addition, Alexan­ Musicians (AACM) at the time. to perform at our facility," Harrison dro££ has built a faculty comprised of While Russo's efforts at Columbia says. "I was interested in what the creative individuals w ho can put exposed black music to a heterogene­ AACM was doing. I went to them and novel ideas to good use in Columbia's ous student population, his outside asked if they'd like the opportunity of intellectually liberal environment. work brought black-inspired music to playing here, because I thought it William Russo and Paul Carter Harri­ traditionally white audiences. His would be good for them as well as for son, for example, two faculty mem­ best-known composition, Three Pieces the students to be in contact with such bers with a strong interest in black for Blues Band nnd Orchestra, was re­ innovative music." music, have been able to do much in corded by Seiji Ozawa and the San The result was a series of public per­ the way of developing Columbia's Francisco Orchestra in 1973. formances by AACM artists begun in support for black music over the last In the present decade Russo has 1976 at Columbia's former Sheffield two decades. continued to bring black music to the Avenue facilities and continued in In 1965 Alexandro££ hired Russo, a college and community through an­ 1983 at the College's Ferguson Thea­ composer/author/musician with roots nual high school jazz festivals and per­ ter. The present-day association be­ in jazz and an ear for the new music, formances by well-known person- tween the College and th e AACM be- 9

lies its turbulent beginnings when there during a celebration of Black search unit for quarters and rations," AACM artists, rebelling against the History Month. says Alexandroff of his move to bring white "establishment," boycotted an Harrison is committed in his stage the CMBR to Columbia. "It was meant arts convention at Columbia. AACM work to collaborating with black com­ to be integrated into the whole situa­ artists now perform in "an atmos­ posers, as is apparent in The Great Mac­ tion. The library that has been built is phere of trust and common objec­ Daddy, composed by Coleridge Taylor an important c'omponent of the·-gen­ tives," according to Harrison. Perkinson. He is currently working on eral library. Sam Floyd has been able "To me, the AACM is very excit­ Anchorman, a blues opera featuring to attract a great deal of book, record, ing," says Harrison. "And th ose who Hemphill's music, and his next work and tape material·in a range of things know about jazz accept that their will be set to music by Threadgill. "['m from living histories to collections of music is some of the most innovative always working with black composers jazz music and all kinds of things that music around. [ think the College who write in that particular idiom that have to do with providing a resource should be associated with that kind comes out of the black experience," for the College." of innovation and energy. The AACM says Harrison. Erwin Salk, a member of the Col­ has produced a very interesting kind In addition to jazz, Harrison would lege's board of trustees, says that hav­ of learning situation for our stu­ like to see concerts of other black ing the CBMR at Columbia is in keep­ dents." music-such as blues and gospel-at ing with the spirit of the school's AACM members have both per­ Columbia. He acknowledges that philosophy, and adds, "There is a tre­ formed and taught at Columbia over now, "with Sam Floyd around, there's mendous need for this in the cultural the years. Columbia College faculty a possibility for a wider variety of fields of all ethnic minority groups. members have included AACM reed­ black music, from blues to art songs We were fortunate to be able to give men Threadgill, Ed Wilkerson, Ernest to religious music." this program to the city of Chicago. Dawkin s, and Doug Ewart. [n 1985 Floyd's strong research orientation It's a major contribution we are mak­ Ewart and Russo were commissioned h.is added a new dimension to the ing to the metropolitan area.'' by the Jazz Institute of Chicago to kinds of black music that Columbia is Alexandroff sees the Center as a write a piece for jazz ensemble that supporting and the manner in which way to expand the cultural life of the was performed by AACM artists; and it supports them. [n addition to its college and the city. "The field of black cellist David Baker has also performed publications, the CBMR has been re­ music, as all forms of black ac­ his compositions with a special en­ sponsible for establishing a library complishment, suffered from mini­ semble of AACM members. and computer database and for bring­ mum publicity and minimum atten­ In addition to AACM-related ac­ ing recordings and information con­ tion even in scholarly communities," tivities, artists such as South African cerning black American music dating he says. "The Center seemed a valu­ pianist Abdullah Ibraham, jazz saxo­ from ca. 1800 to Columbia and Chi­ able and surely neglected interest that phonist Julius Hemphill, and poet cago. In the spring of 1988 live perfor­ probably wouldn't have had any im­ Amiri Barak.a, whose poetry became mances of such historic music will be mediate support. So we thought it the vocal part of a musical trio involv­ heard in Chicago, some of it for the would be valuable evidence of our ing percussio1tist Steve McCall and first time ever, through the Black civic interest and a particularly benefi­ saxophonist David Murray, have ap­ Music Repertory Ensemble that Floyd cial contribution to the exhibit of black peared on the Ferguson stage. The is organizing. accomplishment in the arts. The truth Barrett Sisters gospel group appeared "I wasn't simply attaching a re- of the matter is, I leapt .at it."

Composers Comer Lena Johnson Mclin, Composer by Lucius R. Wt;att, Prairie View A & M University

Lena Johnson McLin (b. 1929) has Since 1969 Mclin has served as Other educational materials. she has composed and arranged more than Chair of the Music Department of prepared are the films A Music Gener­ two hundred musical works, includ­ Kenwood High School in Chicago. ation, Origin and Droelopment of the ing operas, cantatas, choral composi­ She has been recognized widely by Spirituals, and Origin and Dcvelop111e11t tions, art songs, orchestral works, and some of the leading authorities in of the Gospel Song, s0011 to be re-re­ piano pieces. Her cantata Free at I.Ast, music education as an effective and leased by Creative Dhections, Inc. of a portrait of the late Martin Luther inspiring teacher and has conducted Chicago. King, Jr., has been performed by the workshops on classroom approaches Mrs. McLin is the recipient of Atlanta Symphony and by the New to teaching music at various colleges numerous awards for her outstanding York Philharmonic at Lincoln Center and universities across the United work, having received the Music in New York. [n 1983 the American States. In 1977 she published Pulse: A Educators National Conference Symphony performed her Oh, Free­ History of Music, a textbook which is dom at Carnegie Hall. now being used in many high schools. Co11ti11ued on page 10

• 10

Composers Comer, continued pieces were inspired by such singers Music Company. as Leontyne Price, Aretha Franklin, Free at I.Ast: A Portrait of Martin Luther Award for Outstanding Achievement and Nancy Wilson and by notables King, Jr. (SATB chorus, soprano, in Music, the National Black Music such as poet Gwendolyn Brooks baritone, and piano). 1973. Park Caucus Award, the Spelman College (Gwendolyn Brooks: A Musical Portrait). Ridge, Ill.: General Words and Award for Outstanding Achievement ln all of her vocal compositions she Music. in the Field of Music, the Blum-Kovler devotes great care to the handling of Friendship (SATB chorus and piano). Foundation Educational Award, and the melodic lines and inner voices. 1972. Park Ridge, Ill.: General the Chicago Urban Affairs Council Although most of her pieces incorpo­ Words and Music. Image Award. Other awards have rate diatonic harmonies similar to the Gwendolyn Brooks: A Musical Portrait been received from the National As­ harmonic structures found in the (SATB chorus and piano). 1972. sociation of Negro Musicians, the spirituals, some of her compositions Pa rk Ridge, Ill. : General Words and NAACP, the National Association of are more adventuresome: "Winter" Music. Jazz Educators, and the Music Critics from Winter, Spring, S-ummer, Autumn; I Am Somebody (SATB chorus, nar­ Association. ln recognition of her con­ The Torch Has Been Passed; and rator, and piano). 1971. New York: tributions to American music, Vir­ Friendship. In All the Earth Sing unto Edward B. Marks Music Corp. ginia Union University awarded her the Lord the composer makes exten­ If ThetJ Ask You Why He Came (SATB an honorary doctor of humanities de­ sive use of syncopated rhythms and chorus and piano). 1971. Park gree in 1975. harmonies containing perfect fourths. Ridge, Ill.: General Words and Originally from Atlanta, Georgia, To be sure, her compositions contain Music. she attended the city's public schools. musical elements that are typically If We Could Exchange Places (SATB During her formative years, she was Afro-American, such as motives de­ chorus, opt. flute, and bass guitar). closely associated with the church: rived from black folksongs or spiritu­ 1971. New York: Edward B. Marks her father, Rev. B. L. Johnson, Sr., was als; harmonic progressions that are Music Corp. the pastor of the Mt. Calvary Baptist often used in black religious song; and I'm Moving Up (SATB chorus and Church, and her mother, Bernice some elements of jazz. piano). 1971. New York: Sildet Johnson, was the Church's choir direc­ Lena J. McLin is truly a gifted and Music Company. tor and music teacher. prolific composer who is successful in In This World: Five SATB Choruses for After graduating from Spelman Col­ making music a significant force in the Today. 1970. Park Ridge, Ill.: Gen­ lege in Atlanta, she moved to Chicago lives of people. eral Words and Music. where her uncle, legendary gospel ls There Anybody Here (SATB chorus songwriter Thomas A. Dorsey, lived. and piano). 1969. Westbury, N.Y.: Subsequently, she studied at the The Music of Lena J. McLin Pro Art PubUcations, Inc. Let the People Sing Praise unto the Lord American Conservatory of Music. Published Choral Compositions McLin also pursued further studies in (SATB chorus, piano, organ, Bl> music at Roosevelt University and at All the Earth Sing unto the Lord (SATB trumpet). 1973. Park Ridge, lll.: Chicago State University. chorus a cappella). 1967. Park General Words and Music. Lena McLin regards herself as a Ridge, IIJ.: Kjos Music Company. The Little Baby (solo voice, SATB "functional" composer, since she has Amazing Grace (SATB chorus and chorus, and piano). 1971. Park written many works for specific occa­ piano). 1982. Park Ridge, Ill.: Gen­ Ridge, Lil.: Kjos Music Company. sions and several operas for the Mclin eral Words and Music. The Love of God (SATB chorus, piano, Opera Company during the sixties. Challenge (SATB chorus, piano, opt. bass, and drums). 1976. Park The opera company was formed to trumpet, tenor saxophone, bass Ridge, Ill.: General Words and give talented and professional singers guitar, and drums). 1976. Park Music. (both black and white) opportunities Ridge, Ill.: General Words and Memory (SATB chorus and opt. to sing in opera productions in Music. piano). 1976. Park Ridge, Ill.: Gen­ Chicago prior to the formation of the Christmas Time Is Here Again (SSATTB eral Words and Music. Lyric Opera of Chicago. The perform­ chorus and piano). 1978. Park New Born King (SATB chorus a ances were held at the Eleventh Street Ridge, Ill.: General Words and cappella). 1972. Park Ridge, 111.: Theater (now the Getz Theater of Col­ Music. General Words and Music. umbia College). The Colors of the Rainbow (SATB chorus Naw That We Are Leaving (SSAATB Mrs. McLin served as director of and piano). 1971. Westbury, N.Y.: chorus and piano). 1978. Park music for the Trinity Congregational Pro Art Publications, Inc. Ridge, Ill.: General Words and Church on 95th Street in Chicago for The Earth Is the Lord's (SATB chorus). Music. several years. Many of her anthems 1969. Westbury, N.Y.: Pro Art Pub­ Psalm 100 (SATB chorus and piano). were composed for church perform­ lications, Inc. 1971. Westbury, N. Y.: P:ro Art Publi­ ances. These works were often com­ Eucharist of the Soul: A Liturgical Mass cations, lnc. posed with a specific biblical text ap­ (SATB chorus and piano or organ). Psalm 117 (SATB chorus and piano). propriate to the particular service in 1972. Park Ridge, lll.: General 1971. Westbury, N.Y.: Pro Art Publi­ which they were performed. Words and Music. cations, lnc. Other choral works were written for For Jesus Christ Is Born (SATB chorus a Remember Naw Gethsemane (SATB school choirs. Some of the solo voice cappella). n.d. Park Ridge, Ill.: Kjos chorus a cappella). 1981. Park 11

Ridge, lll.: General Words and Done Made My Vow to the Lord (baritone De Genova, Al. 1982. Music power­ Music. solo and SATB chorus a cappella). It's as basic as the 3 Rs, even more Sanctus and Benedictus (SATB chorus 1971. Park Ridge, Ill.: Kjos Music so. Upbeat May:28-29. (In this arti­ and piano). 1971. Park Ridge, Ill.: Company. cle McLin's philosophy of teaching General Words and Music. Dawn by the River (SATB chorus a is discussed.) See What Love (SATB chorus a cappella). 1976. Park Ridge, Ill.: Green, Mildred D. 1983. Lena McLin. cappella). 1'982. Park Ridge, lll.: Kjos Mus.ic Company. In Black women composers: A ge11esis, General Words and Music. Give Me That Old Time Religion (SATB 113-134. Boston: Twayne Pub­ Since He Came i11to My Life (SATB chorus a cappella). 1978. Park lishers. chorus). n.d. Park Ridge, Ill.: Kjos Ridge, Ill.: General Words and McLin, Lena. 1970. Black music in Music Company. Music. church and school. In Black music Te Deum Lnudamus (SATB chorus and Glory, Glory, Hallelujah (solo voice, in our culture, edited by Dominique­ opt. Bl> trumpet). 1976. Park SATB chorus, and opt. piano). Rene de Lerma, 35-41. Kent, Ohio: Ridge, Ill.: General Words and 1966. Park Ridge, Ill.: Kjos Music Kent Sta te University Press. Music. Company. The Tord1 Has Been Passed (SATB I'm So Glad Trouble Don't Lnst Always Discography chorus a cappella). 1971. Park (SATB chorus a cappella). 1974. Ridge, Ill.: General Words and Park Ridge, Ill.: Kjos Music Com­ All the earth si11g unto the Lord and Music. pany. Glory, glory, hallel11jaf1. The Virginia Two Introits (SATB chorus and piano). I Want Jesus to WaJk with Me (SATB Union University Concert Choir, 1978. Park Ridge, Ill.: General chorus and piano). 1969. Westbury, Odell Hobbs, director. Century Words and Music. N. Y: Pro Art Publications, Inc. Records V 40129, 1971. What Will You Pa,t Under Your Christmas Lit'le Lamb, Lit'le Lamb (solo voice and Glory, glory, hallelujah. Clarence Smith Tree? (SATB chorus and piano). SATBchorusacappella). 1969. Park Community Chorus. Ma rk Rec­ 1971. Park Ridge, Ill.: General Ridge, 111.: Kjos Music Company. ords, MC-23503 (Address: 9985 Words and Music. My God Is So High (SATB d10rus a Hambelton, Livonia, MI 48150). Winter, Spring, Summer, Autumn cappella). 1972. Park Ridge, Il l.: Let the people sing praise unto the Lord. (SATB chorus and piano). 1974. Kjos Music Company. The Youth and Progressive Choir Park Ridge, Ill.: Kjos Music Com­ Writ'en Dow11 My Name (baritone solo (Birmingham, Alabama). Prestige pany. and SATB chorus a cappella). 1967. Productions and Records. You and I Together (SATB chorus and Park Ridge, TII. : Kjos Music Com­ The torch has been passed and Glory, piano). 1978 . Park Ridge, Ill.: Gen­ pany. glory, hallelujah. Eight combined eral Words and Music. high school choirs at the Southwest Suburban Conference. Century Published Choral Arrangements References Records 40495, 1972. Cert' nly Lord, Cert' nly Lord (soprano or Cox, Donna McNeil. 1987. Analytical "If they ask you why He came." On tenor solo and SATB chorus a cap­ notes of Lena McLin's Eucharist of Wendell Phillips Sings. Wendell Phil­ pella). 1967. Park Ridge, Ill.: Kjos the Soul. The Journal of Black Sacred lips High School Choir (Chicago, Music Company. Music 1 (no. 1):35-46. Illinois). PHS-1979.

Introducing . . . Members of the National Advisory Board of The Center for Black Music Research by Charles Conte, Nashville, Tennessee

"In a funny way, I think I'm coming coming back into style. positions in classical forms are two back into style," said composer and A musical prodigy, he worked with symphonies (the second, Titans, per­ educator William Russo back in 1985. Lionel Hamp ton at the age of sixteen. formed by the New York Philharmonic "In America, w hen you're in your 40s By 1950, when he was twenty-one, he in 1959 under Leonard Bernstein), six and early 50s, people take you for had begun a five-yea r tenure writing operas, fou r cantatas, th ree concertos granted. Then, suddenly, as you're and arranging for Stan Kenton and (among them, the English Co11certo for starting to get venerable - or better playing trombone in Kenton's or­ violin and jazz orchestra, commis­ yet, dead-people start taking you chestra. Later he worked with Dizzy sioned and performed by Yehudi more seriously." Gillespie, Charlie Parker, Stan Getz, Menuhin in 1963), five ballets, and Though not q uite "venerable" and Lee Konitz, and Cannonball Adder­ numerous works for a variety of in- certainly not dead, National Advisory ley. Board member Russo is definitely Among his more than eighty com- Continued 011 page 12 12

Russo, continued of Chicago Press, 1961 and 1973), Jazz: Composition and Orchestration strumental ensem bles. (University of Chicago Press, 1958), His Three Pieces for Blues Band and and Composing Music: A New Approach Orchestra, recorded by the Chicago­ (Prentice-Hall, 1983). based Siegel-Schwall Band with the As Director of the Contemporary San Francisco Symphony orchestra American Music Program at Colum­ under Seiji Ozawa for Deutsche­ bia College Chicago since 1979, the Grammophon (1973), has sold over Chicago-born composer expresses his 150,000 copies. And his Street Music: admiration for the work of the Center A Blues Concerto, also recorded by for Black Music Research which, he Ozawa and the San Francisco Sym­ says, "reflects the highest scholarly phony for Deutsche-Grammaphon and humanitarian aims in searching (with Corky Siegel, soloist on har­ out music of wort!h and allowing monica and piano), was awarded the people to hear it." Grand Prix du Disque in 1978. Both Wi th deep roots in the jazz idiom, pieces have recently been re-released he has composed for the saxophone together on Deutsche-Grammophon's throughout his career, though he re­ Privilege label. members a time in the late 1960s when Russo has written music for films his students could not stand to hear and rock music for the theater, includ­ the instrument. "My father played it," William Russo ing the rock opera Aesop's Fables, w'1ich he says, "and I've always loved it." has been given nearly two hundred Recently he was commissioned to by Donald Sanders. His aim in this performances. write a piece for saxophone and piece, as in all his compositions, is to In addition, he has recorded over chamber orchestra. write, he says, "unencumbered by thirty albums and has written three Currently, Russo is completing a dogma, dicta, or the constraints of crit­ books on composition and orchestra­ full-length opera, Dubrovsky, based on ical opinion, as beautifully and lyri­ tion: The Jazz Composer (University the Pushkin short story, with a libretto cally as possible."

only one position. It was for an open­ Program-from the basic skill-build­ ing on the programming staff for the ing workshops to seminars on market­ municipal performing arts program, ing and a major conference each at the time administered through the spring and fa ll. Public Library. She got the position. The Performing Artists Registry Today she is Director of Programs holds the resumes (plus tapes and for the Chicago Office of Fine Arts, other materials) of over eight hundred administering what is, without a artists, filed according to art form. It doubt, one of the largest municipal serves as a clearinghous.e for people arts programs in the country. Her de­ in the business community and for partment is responsible for five other city agencies looking for artists hundred performances a year at the with specific talents. Cultural Center and three hundred All these events, worikshops, and public performances at the Daley departments are not administered Civic Service Center-all free to the through some massive bureaucracy. public. "We have a small, experienced staff," Organized thematically into series she says, "and a wonderful intern that run through the year, the perfor­ program for students and for people mances at the Cultural Center cover redirecting their careers into arts man­ Sandra Howe Royster the entire range of performing arts. agement or into the arts themselves. "We've had everything from Bozo the But aside from administering pro­ Sandra Howe Royster came home Clown,'' she says, "to our weekly se­ grams and grants, I think it's accurate to Chicago in 1978 on an impulse. "l ries of classical music performances." to say that we are probably more in­ didn't come home to a job, or any­ The Literary Arts program-which volved in presenting performances thi ng," she says. "l just came home." includes "Dial-a-Poem-Chicago!," fea­ than most municipal arts programs." Fortified with her anthologized turing between fifteen and twenty There's a direct and very valuable publications and her book of poems, poets a year reading their works for connection between the hundreds of Woman Talk (Third World Press, 1974), callers-is also administered through performances her office organizes and plus seven yeairs of experience as the Programs department. Technica l the Center for Black Music Research, Program Coordinator for the Nash­ assistance to the arts community she says. "Because we view our per­ ville Public Library, she applied for comes through the Arts Resources formances as ed ucational experiences 13

Royster, co11fi11ued artistically and in scholary ways in a brought it to the public ear. particular art form." "Word reached composer William as well as entertainment, we always As an example of the Center's value Dawson in Tuskegee that some of his supplement each performance series in her program planning and re­ works were being performed during at the Cultural Center with lectures. search, she cites her department's the series," she says. "That encour­ We do extensive research in develop­ 1985-86 "Classical Black" series. Con­ aged him to come to Chicago a little ing the themes for each series. That centrating o:, black composers work­ later and conduct a con.cert series of gives me the opportunity, using the ing in classical forms, the series his music" - a significant event for Center for Black Music Research as a uncovered music rarely heard, either black music and in the cultural life of resource, to learn who's involved both on record or in performance, and the city.

For Susan Trevelyan-Syke, National study in both Paris and England. Advisory Board Member and presi­ Work in journalism and broadcast dent of her Chicago-based video and media at both Northwestern Univer­ film production company, learning is sity and Columbia College helped ad­ a lifelong ha bit. vance her career as a journalist. A "I've never stopped," she says, re­ graduate of the Coro Foundation ferring specifically to her intense in­ Women's Program in public affairs in terest in the work of the Center for 1981 and winner of a national compe­ Black Music Research. tition that afforded her that opportun­ "In part, the Center serves to edu­ ity, she speaks very highly of the or­ cate our own people," she says. A ganization and of the experience. one-time resident of Paris, London, About ten years ago she started her and Cairo, she feels that the black in­ own film and video production com­ fluence on the music of our country, pany, consulting on others' projects and on Western music in general, may and originating her own. Though she be more generail.ly appreciated abroad often functions now as executive pro­ than here at home. She adds that a ducer, writer, and sometime director personal need to learn more about for her own projects, she has at vari­ black music is also behind her involve­ ous times been involved in "every ment with the Center. single phase of the art form, from de­ Susan Trevelynn-Syke Her current participation in the veloping the concept to marketing." "Great Books" series through the Uni­ As Vice Chair for Fund-raising of series intended for network television versity of Chicago's continuing educa­ the Center's National Advisory Board, and a series for commercial television tion program is similarly motivated: she is in great part responsible for es­ which she developed from the works "It's an opportunity to put things in tablishing the Chicago Committee to of American writers (Henry James's perspective, to reacquaint myself with support the Center for Black Music Turn of the Screw among them). the history of Western thought and Research and to underwrite perform­ A long-time admirer of the tradi­ culture, to read, think, and question. ances of the Center's Black Music Re­ tional mystery novel, she is at work And it's made an enormous difference pertory Ensemble. (Plans for the En­ on one of her own. She expresses in my life." semble include a March 1988 perform­ deep admiration for the work of Iris Trevelyan-Syke began her educa­ ance in Chicago witn all thirteen mem­ Murdoch and praises English direc­ tion in her native Chicago and bers and the establishment of a perma­ tor/novelist Bryan Forbes's "intellec­ graduated from the University of nent residency for the group at the tual thriller," The Endless Game. Chicago with a Bachelor of Arts de­ Center within the next five years.) Accomplished, active, and intellec­ gree in psychology. Her interest in in­ Among her other current projects tually curious, Susan Trevelyan-Syke ternational law and politics led her to are a completed pilot for a mystery is proud to admit she's still learning.

On Ragtime The Ragtime Oubs by Edward A. Berlin, Queensborough Community College

"I would be interested in corres­ So begins a letter in the March 1987 1941) was a Kansas City musician who ponding with anyone knowing any issue of Remember That Song, the news­ composed several rags (I know of details about Eddie Kuhn and acquir­ letter of an organization of sheet ing his sheet music and recordings." music collectors. Eddie Kuhn (1884- Continued on page 14 14

On Ragtime, continued covered details regarding publication annual "Ragtime Bash," it has also fea­ of Scott Joplin's Mapfe Leaf Rag in 1899. tured some of the great figures of rag­ four) and songs during his career. He Rag Times, newsletter of The Maple time and survivors of the ragtin1e era. was a minor figure in ragime and-as Leaf Club, had included in its Sep­ The Society's newsletter, The Ragtimer, of this writing-little is known of him tember 1975 issue a copy of the newly used to be a bi-monthly publication other than what we can gather from discovered, though legendary, Maple containing articles of original research his music. But change in this situation Leaf Rag contract between Joplin and and serious speculation. Unfortu­ seems imminent. The letter quoted his publisher, John Stark. nately, its scholarly level has declined above was written by his son, who The contract was "legendary'' be­ considerably, and it is now issued will undoubtedly be inundated by rag­ cause the usual course taken by black only sporadically. One particularly time researchers seeking information. composers of the period was outright valuable service the Society continues Certainly, the researchers will tell sale of a piece of music to a publisher to provide to its members is access to what they know and are likely to give for $25; the contract for this highly its vast holdings of out-of-print rags, the son copies of Kuhn's sheet music popular piece gave Joplin a degree of available in photocopy at reasonable and recordings. But uppermost in financial independence that pro­ cost. their minds will be to find out what foundly affected his career. Aside There are several other ragtime the son of Eddie Kuhn can tell them. from finally learning the details of the clubs scattered throughout the United Did his father ever talk about any of contract, we discovered that there was States, each with its own ideals and the other Kansas City ragtimers of his a signatory witness: R. A. Higdon. aims. Indianapolis has two organiza­ day? Of Charles Johnson, E. Harry We had no idea who Higdon was, for tions: The International Hoosier Rag­ Kelly, or Mamie Williams? Did he ever he is not a part of the Joplin legends. time Society (1527 Rogers Road, In­ speak of saloons, cabarets, dance This lacuna was filled when the Sedalia dianapolis, IN 46227) and a recent halls, or theaters where ragtime was Democrat Ooplin and Stark both re­ break-away group, espousing a dif. featured? Or of ragtime performance sided in Sedalia when they made the ferent philosophy as to the meaning practices? contract) printed an item about the of ragtime, The Original Hoosier Rag­ This is a classic example of how discovery, and the news clipping time Society (4738 Stratford Avenue, clubs, whose members are mostly reached Lucile Higdon. She then Indianapolis, IN 46201). A second hobbyists rather than professional wrote a letter relating her father's as­ California group is the Sacramento scholars, have fostered popular music sociation with Joplin and his part, as Ragtime Club (10458 Joel Lane, research. Typically, the activities of Joplin's lawyer, in this contract. Rancho Cordova, CA 95670), and in the club-perhaps a concert, a music The Maple Leaf Club (5560 West Wisconsin there is the Superior Rag­ display in a library, a ragtime playing 62nd Street, Los Angeles, CA 90056), time Club (1902 Baxter Avenue, or composing contest-attracts the at­ founded in July 1967, has become the Superior, Wl 54880). In Oregon a new tention of a local newspaper, which clearinghouse for dissemination of group, The Cascades Ragtime Society prints a "human interest" story. A ragtime news. Long before Eubie (Route 1, Box 193, Riddle, OR 97469), local resident reads the article, is Blake interviews had become com­ named after Joplin's 1904 rag, has amazed to learn that anyone is in­ monplace, the grand old gentleman been particularly effective in reaching terested in this old music that he or was discovered by Maple Leaf Club local media and in drawing a favorable his parents were involved with, and members, made guest of honor at response from area music teachers; it writes a letter to the organization. The their ragtime festivals, and written up is sponsoring a ragtime competition contact is made, and the amateur in the newsletter. Looking through for youngsters. scholars-"amateurs" in the best the newsletter, one also finds inter­ Most of the ragtime organizations sense, since theirs is a genuine labor views with other prominent figures of emphasize regular meetings, the col­ of love-gather around and ask ques­ the ragtime years. Among these are lecting and swapping of artifacts, live tions. Joe Jordan (one of the great ragtimers performances, local public relations, The case could not be clearer in re­ and songwriters of the time and a and musical proselytizing. Scholar­ gard to ragtime. Long before the rag­ close associate of Will Marion Cook ship is also present, for wherever you time explosion of the 1970s brought early in the century), Shelton Brooks find collectors, there will be individu­ the subject to the active attention of (composer of such classics as "Dark­ als with an extraordinary amount of professional scholars, club members town Strutters' Ball" and "Some of information on obscure specialties. had collected, distributed, and pre­ These Days"), Ed Garland (a bassist Usually these collectors are satisfied served the sheet music, recordings, who worked with Jelly Roll Morton), with giving informal talks to their and piano rolls; performed the music; and others who could relate personal groups, and little of this accumulated sought out survivors of the period; experiences of that era. knowledge reaches publication. printed newsletters telling of their dis­ The Maple Leaf Club is not the only One would think that any profes­ coveries and opinions; and attracted ragtime organization around today; sional researcher of ragtime would such letter writers as Eddie Kuhn's nor is it the oldest. The club with the seek out the members of these organi­ son. greatest longevity is The Ragtime Soc­ zations for the assistance that they are There have been numerous in­ iety (begun in 1962), which has its usually eager to give. Unfortunately, stances of club activities attracting the headquarters not in the United States I have seen many cases in which the attention of someone with valuable but in Canada (P.O . Box 520, Station professionals shun such association. information. One such occasion un- A, Weston, Ontario M9M 3N3). At its Perhaps professional scholars are put 15

off by the uneven standards of could not be located in libraries, the were omitted. They should have amateur newsletters; tnis is, admit­ editor enlisted the aid of The Maple known. Discovery of these songs had tedly, not without some cause. The Leaf Club and its network of sheet been announced several years earlier newsletters can contain a great deal music collectors to fill in the gaps. Ten in Rag Times, and two of the songs of trivia and pseudornusicology of a years later, three additional rags, for were distributed to members with the low order. Along with the chaff, which reprint permission had previ­ newsletter. These two songs were though, there can be much of value; ously been denied, were added to the therefore on the Library's own the members may not always observe collection for a new edition, now shelves! the niceties expected by the profes­ called "The Complete Works ... "This sional, but this shortcoming is more time the editor chose not to consult This was an embarrassment that than compensated by the drive to un­ with the dub mem·bers. It was not could have been avoided. The lesson earth facts. until a lavish publication party held is dear. The amateur ragtime sleuths Such assistance was requested by at Lincoln Center that those involved are anxious to promote the music they the editor of The Collected Works of Scott with the new edition learned that it love. They constitute an invaluable re­ fop/in (New York Public Library, 1971). was not complete; three additional source, and it is foolish to ignore Finding that copies of all the music pieces-songs arranged by Joplin- them.

Call for Paper Topics and Statements of Areas of Interest For the 1991 National Conference on Black Music Research Chicago, lllinois

Exploratory planning is proceeding flourished with a high degree of visi­ studies on major figures such as Earl for the Center's 1991 National Confer­ bility at one time or another. The im­ Hines; Chicago gospel; ragtime and ence, to be held in Chicago in October portance of Chicago as a critical loca­ boogie-woogie piano styles; concert of that year. So that scholars will have tion in the dissemination of black music and concert musicians in ample time to plan and prepare major music has always been recognized, Chicago; Chicago's black composers, papers for the meeting and in order but little serious and extensive work including Florence Price and Margaret to determine the level and extent of has been published about the activity Bonds; the Chicago bluesmen of the interest for a meeting four years there. Mike Rowe's Chicago Breakdown 1940s, 1950s, and 1960s; rhythm and hence, the Center is issuing a call for (Da Capo, 1973; Drake, 1975) and blues in Chicago; and musical connec­ paper topics and statements of areas Dempsey Travis's Arr Autobiography of tions between New Orleans and of interest. Black Jazz (Urban Research Institute, Chicago and St. Louis and Chicago. This unusual call is inspired by the 1983) being the onJy books devoted to Interested individuals are asked to facts that 1) little research has been aspects of Chicago black music. Few send a statement of interest in a par­ done on the black music tradition in articles have been written an any as­ ticular topic or an area of research to Chicago and 2) our belief that know­ pect of Afro-American music-making the Center, following receipt of which ledge of this fact will promote interest in Chicago. a dialogue will be established with re­ and movement among scholars to Significant research about all spondents. Address lettets to: Samuel begin work in this important area. genres, areas, and topics of black A. Floyd, Jr., Director, Center for Chicago is one of the few, perhaps music will be welcomed: South Side Black Music Research, Columbia the only city, in the United States jazz, especially activity at the Grand College Chicago, 600 South Michigan where all of the black music genres Terrace and Vendome theaters, and Avenue, Chicago, IL 60605-1996.

News and Notes From . . . The Center for Black Music Research by Josephine Wright, The College of Wooster

The American Music Center has an­ West 54th Street, Suite 300, New York, 1986). The publication is available nounced details for the third annual NY 10019. from the author. American Music Week, which will be held November 2-8, 1987. For details, Ben Bailey has recently published David Baker (Indiana University) contact Monika Morris, Program Man­ a book entitled Music in the History of ager, American Music Center, 250 Tougaloo College (Tougaloo, Miss., Continued on page 16 16

News and Notes, continued "Nation to Nation" on the second by Marjorie Evans, "The Fisk Jubilee floor of the museum. Singers in Britain" by Doug Sero££, and Arthur Mitchell (Dance Theatre "Will Garland's Negro Operetta Com­ of Harlem) have been nominated by Dan Morgenstern recently sur­ pany" by Rainer Lotz, "Three Afro­ President Ronald Reagan to serve a veyed the state of jazz recordings on American Singing Groups [the Four six-year term on the National Council compact disks and provided a work­ Harmony Kings, the C. and M. A. on the Arts of the NEA. Other indi­ ing discography of available materials Gospel Singers, and the Kentucky Sin­ viduals named to the Council were in a featured article in Section 2, '~ts gers]" by Ray Funk, "The Southern Nina Brock, Robert Garfias, Robert and Leisure," of the Sunday New York Syncopated Orchestra" by Howard Johnson, Ardis Krainik, and Harvey Times (March 22, 1987). Ray, and "West Indian Gramophone Lichtenstein. Recording in Britain, 1927-1950" by Ira Schwarz (SUNY, Brockport) an­ John Cowley. This book may be ob­ A memorial concert for concert nounced the premier performance of tained in the United States through singer Carol Brice was held at Car­ his musical, Jacob's Ladder: A Music Your Heritage House, 110 East Ferry, negie Hall on April 14, 1987. Tribute Dorn-drama Based on Afro-American His­ Detroit, Ml 48202. hosts for the concert included Betty torical, Musical, and Literary Themes, on Allen, Guion Bluford, Ed Harris, February 23-25, 1987, at Brockport. Editor Robert Sacre announces the Celeste Holm, Christopher Keene, The musical resulted from his re­ publication of symposium papers and Tommie Stewart. Participants in search project in the 1986 NEH Sum­ from the international conference on the concert were McHenry Boatright, mer Seminar for College Teachers at the blues held at the University of Cab Calloway, Billie Lynn Daniels, Harvard University, conducted by Ei­ Liege in Belgium in 1984. The publica­ John Dankworth, Gloria Davy, An­ leen Southern. The work is dedicated tion, entitled The Voice of the Delta: drew Frierson, Barbara Hendricks, to Southern and the participants in Charley Patton (c. 1887-1934) and the Ben Holt, Fred Horicke, Ilze K.lavins, the seminar. Mississippi Delta Blues Traditions Janis Klavins, Cleo Laine, Leona (Liege: Presses Universitaires de Mitchell, Gilberto Munguia, Walter Kay Shelemay (NYU) and Peter Liege, 1987), contains the following Ponce, Don Shirley, George Shirley, Jeffry (University of Delaware) have essays: "Black Music U.S.A.: Des and William Warfield. received an NEH grant for research melopees Africaines aux Negro on a two-year project to study oral spirituals, a la Devil's music et au jazz" The College Music Society, in con­ and written transmission in Ethiopian by Robert Sacre, "The Mississippi junction with the Center for Black Christian chant. Blues Traditions and the Origins of Music Research, announces the reis­ the Blues" by Arnold Shaw, "Charley sue of CBS Records' Black Composers Singer Lena Home received the Patton, The Conscience of the Delta" Series, which was originally released Pied Piper Award from ASCAP at a by David Evans, "Blues elementaire by Columbia Records between 1974 gala event in Washington, D.C., in et echelle tonale chez Charley Patton" and 1979. The series contains music March of 1987. by Daniel Droixhe, "Louisiana Coun­ written by black composers from the try Music-A Comparison with the eighteenth through the twentieth Paul and Elizabeth Garon are work­ Delta Country Style of Charley Patton centuries. Composers represented are ing on a biography of blues singer and Followers, Musical Influences" by T. J. Anderson, David Baker, Samuel Memphis Minnie. They would be John Broven, "The Influence of the Coleridge-Taylor, Roque Cordero, grateful for any information, photo­ Mississippi Delta Style on Chicago's Jose Mauricio Nunes-Garcia, Adol­ graphs, interviews, or infom1ation Post-war Blues" by Mike Rowe, phus Hailstork, Talib R.isul Hakim, regarding recordings that would be "Chicago-The Post-war Blues Scene Ulysses Kay, the Chevalier de Saint­ relevant to her life and career. They and Patton's Heirs: Memories of Howl­ Georges, Hale Smith, Fela Sowande, can be contacted at 1533 W. Oakdale, ing Wolf and Willie Johnson" by Dick William Grant Still, George Walker, Chicago, IL 60657. Telephone: 312/ Shurman, "Modern Chicago Blues­ Jose White, and Olly Wilson. The 472-4528. Delta Retentions" by Jim O'Neal, series is available to CMS members "Mississippi Blues Today and Its Fu­ for $35 and to institutions and other Editors Rainer Lotz and Ian Pegg ture" by David Evans, and "I Was individuals for $40. For further announce the publication of Under the Born in Arkansas and Raised Up in information, contact The College Imperial Carpet: Essays in Black History, Chicago" by Luther Allison. Orders Music Society, 1444 Fifteenth Street, 1780-1950 (Crawley, England: Rabbit for the symposium papers may be ob­ Boulder, CO 80302. Press, 1986). The volume focuses tained directly by writing to Robert upon black life and cultural history in Sacre, 117 Chaussee de Tongres, B- Dizzy Gillespie has donated to the Great Britain from the eighteenth 4420 Liege Rocourt, Belgium. The Smithsonian Institution his King through the twentieth centuries and price for the issue is $34 for surface Silver Flair trumpet with the upward­ includes the following articles of in­ delivery and $41 for air mail. angled bell, wh.ich he used from 1972 terest about music and musicians in to 1975. The trumpet will become part Britannia: "Early African Musicians in The Schomburg Center for Re­ of the Smithsonian National Museum Britain" by Josephine Wright, "I Re­ search in Black Culture,. a division of of American Hi.story's Jazz Collection member Coleridge: Recollections of the New York Public Library, reminds and will be on view in the exhibition Samuel Coleridge-Taylor (1875-1912)" researchers that the Sc/10111burg Libran; 17

Clipping File, 1925-1974 has been mic­ ing styles. To order, contact The Uni­ Northeastern Records is planning rofilmed and is now available for versity of North Carolina Press, P.O. to issue a three-record commemora­ purchase. For information about ac­ Box 2288, Chapel Hill, NC 27524. tive set of live recordings and 78s by quiring these materials, write direct­ Roland Hayes. The set will be based ly to Chadwyck-Healey, Inc., 1021 Willis Patterson (University of on the July; 1955, issue (Vol. 10, Prince Street, Alexandria, VA 22314. Michigan at Ann Arbor) announces No. 2) of The Record Collector. Persons Telephone: 703/,683-4890. that the University of Michigan School with information, particularly about of Music is making available several Hayes's Vocation recordings, that The Smithsonian Institution has important papers and a number of re­ might update this issue are invited to purchased Folkways Records, a label cordings of performances presented contact Northeastern Records, P.O. that specialized in tribal and folklore at the Black American Music Sym­ Box 116, Boston, MA 02117. Tele­ materials, including recordings of posium held on that campus during phone: 617/437-5488. jazz, gospel, blues, ragtime, and folk August 9-15, 1985. For information, songs and ethn:ic music from around write directly to Willis Patterson, The A symposium on the nature and the world. The Smithsonian Institu­ University of Michigan School of training of the black voice will be held tion also received a gift of the Folk­ Music, Ann Arbor, Ml 48109. at Rust College, in Holly Springs, Mis­ ways Archives, which contain a re­ sissippi, during February 24-27, 1988. pository of taped materials that have Rawn Spearman is a recipient of the Supported by grants from the United never been distributed commercially. 1987 Black Achievers Award pre­ Negro College Fund and the National The Birch Tree Group of Princeton, sented by the Greater Boston YMCA. Endowment for the Arts, the sym­ New Jersey, will market and distribute As such, he has been recognized by posium will seek to arrive at an an­ the recordings for the Smithsonian. the University of Lowell for "de­ swer to the question of what consti­ monstrating the highest degree of tutes a black voice, treating in the The Society for Ethnomusicology professionalism and expertise in his process such questions as: Is the will hold its 1987 annual meeting at chosen career." phenomenon of the black voice phys­ the University of Michigan (Ann ical, or is it cultural? ls the black voice Arbor) on November 5-8, 1987. For Dominique-Rene de Lerma is in the a style? Do black voices have inherent complete details, write Arnold Ferris, process of preparing a book titled characteristics that distinguish them Department of Music, University of Black Concert Singers, which will be from other voices? And to what extent Missouri-St. Louis, 8001 Natural published by Dembner Books. He re­ has the so-called "black voice" influ­ Bridge Road, St. Louis, MO 63121- quests information from individuals enced classical vocal music? In addi­ 4499. with pertinent viewpoints, memor· tion, the conference will focus on abilia, or experiences and would like the following: (1) instructional ap­ Folklore enthusiasts vvill also be in­ to make arrangements for appropriate proaches and methodologies in train­ terested in learning of Brett Sutton's oral history interviews. ing the black voice, and (2) perfor­ recent edition, Primitive Baptist Hymns mances that will help music teachers of the Bl11e Ridge, which is now availa­ New World Records was recently diversify and strengthen their instruc­ ble in the American Folklore Series of given a special commendation by the tional techniques as they apply to the the University oi North Carolina. The Sonneck Society "for its past achieve­ black voice. For additional informa­ recording and the accompanying ments and continuing efforts to docu­ tion write: Mr. Sylvester Oliver, Divi­ twenty-page book focus upon black ment the full scope of American music sion of Humanities, Rust College, and white folk singers and their sing- and music in America." Holly Springs, MS 38635.

BMR Newsletter is devoted to the encourage­ BMR Newsletter is published by the Colum­ Inquiries regarding subscription, as well as ment and promotion of scholarship and cultural bia CoUege Center for Black Music Research. subscription payments of $2.00 per volume, activity in black American music and is in­ Information submitted for inclusion should be should be sent to: tended to serve as a medium for the sharing mailed to: Samuel A. Floyd, Jr., Editor, Center Publications, Center for Black Music Research of ideas and information regarding current and for Black Music Research, Columbia College, Columbia College Chicago future research and activities in universities and 600 South Michigan Avenue, Chicago, Illinois 600 South Michigan Avenue research centers. 60605-1996. Chlcago, lllinois 60605-1996

Editor: Samuel A. Floyd, Jr. Associate Editors: Calvert Bean, Jr., Orin Moe Designer: Mary Johnson Managing Associate Editor: Marsha J. Reisser Production Manager: Gerry Gall Typesetter: Anita Strejc 18