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Fall 9-1-1989

Black Music Research Bulletin, Fall 1989

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Fall 1989" (1989). Center for Black Music Research: Black Music Research Newsletter. 29. https://digitalcommons.colum.edu/cbmrnews/29

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

BULLETIN C B ;\I R COLUMBIA COLLEGE CHICAGO Vol. 11, No. 2 ISSN 0898-8536 Fall 1989

Contents Mose McQuitty's Unknown Career: A Personal History of Black Music in Mose McQuitty's Unknown 1 Career: A Personal History America of Black Music in America D. Alex Albright by D. Alex A/!iright, East Carolina University, Greenville, North Carolina A South Carolina Band in 5 When he died in 1937 in Fayette­ with seldom any print advertise­ London, 1914 ville, North Carolina, the Chicago ments or reviews, only bills posted Jeffrey P. Green Defender's boldface obituary called by advance men and a noonday pa­ Aspects of Musical Activities 10 Mose McQuitty a "great personality rade to announce themselves on the in the Black Communities of ... one of the most noted baritones day of their show. They were in town Baltimore and Washington, and bass players on the boards." The one day and in another the next, their D.C., 1840 to the Early 1920s Defender summarized his career as livelihood always dependent on good Doris Evans McGinty "one of many high lights that carried weather, management, and luck. Mc­ CBMR Editorial 12 him from the bottom of the ladder to Quitty followed the routine on roads Samuel A. Floyd. Jr. the lofty heights of fame." Few con­ and railways from coast to coast in crete details accompanied the obitu­ the United States and Canada for Call for Proposals for the 13 ary to indicate the extent of McQuit­ forty years, from 1896 until a few 1991 National Conference on ty's fame; a note that members of the months before his death. Black Music Research Silas Green show had donated funds However, his importance as noted "for the famous musical master'' was in the Defender was, if anything, un­ the only indication of those for derstated. The numbers in his career The Center for Black Music whom he had played, and it had are awesome-he toured for more Research was established in been a few years since he had trav­ than twenty-five seasons with min­ 1983 to discover, dissemi- eled with that legendary troupe strel and tented vaudeville shows, for nate, preserve, and promote ("Mose McQuitty, Vet Actor Dies" seven seasons with circuses and wild aspects of black music in all 1937, 10). west shows, and for two with travel­ its forms-from blues, jazz, No doubt many newcomers to the ing theatrical productions. He also gospel, and ragtime to opera black entertainment scene at the time played extended engagements with and concert works. read such a prominently displayed orchestras in such theaters as the The publications of the Cen- obituary as an indication of McQuit­ Standard and Dunbar in Philadel­ ter for Black Music Research ty's standing with one of its report­ phia, the Wigwam in Kansas City, include: ers, probably Bob Hayes (whose and the Lincoln in Jacksonville, Flor­ "Here and There" column for most of ida. Black Music Research Journal the 1930s kept up with old-timers) From the beginning of his career CBMR Monographs rather than of his true fame. Their McQuitty played with the best show Black Music Research Bulletin error in judgement is understandable bands and musicians. He began in CBMR Digest because of the ephemeral nature of 1896 with P. T. Wright's Nashville many of the shows with which Mc­ Students, P. G. Lowrey on trumpet Quitty played, performing in tents (Sampson 1988, 121); W. C. Handy 2 describes a tour with Frank Mahara's Minstrel Carnival while McQuitty was in his band (Handy (1941] 1970, Mose McQuitty's Life on the Road 47); and he ended his career in 1937 with the show that was soon to be­ September 1896-April 1899 P. T. Wright's Nashville Students come Bessie Smith's last (Sloan 1986; May 1899-November 1899 Forepaugh Circus Oxley 1965, 3). What happened be­ November 1899-March 1900 Lowrey and Green's Nashville tween those years is documented in Students Co. McQuitty's routebook-show, place, March ]~November 1900 Sells & Forepaugh Circus and date for every day of his ca­ November 1900-January 1901 M. l. Swain's Nashville Students reer-which often offers tanta.lizing June 1901-September 1901 Johnson and Stater's Minstrels historical details and footnotes: "No September 1901-November 1901 Guyer and West's Minstrels show. Big time" (Dec. 7, 1898, P. T. December 1901-January 1902 Wigwam Theater, Kansas City Wright's, New Orleans); "Citizens August 1902-March 1907 Frank Mahara's Minstrel Carnival hung a colored man today'' (Sept. 18, May 1907- March 1909 Dandy Dixie Minstrels 1900, Sells and Forepaugh, Ripley, April 1909-April 1910 F. L. Mahara's Minstrels Tennessee); ''No show, saloon fight April 1910-July 1910 Billy Kersands's Minstrels over slot machine. AU in." (July 23, July 1910-January 1911 Barton & Niswall's Dixie Minstrels 1904, Frank Mahara's, Antigo, Wis­ April 1911-August 1911 Kelly's Colored 40 consin), followed the next day by August 1911-November 1911 Dandy Dixie Minstrels "sore head from yesterday's brawl"; December 19111- February 1912 Lincoln Theater, Jacksonville, Florida "Kersands joins" (Sept. 21, 1908, March 1912-July 1912 Dixie Minstrels Dandy Dixie, Chattanooga, Tennes­ July 1912- February 1915 Allen's Minstrels see); "Jack Johnson gave recpt for us, April 1915-December 1915 Sparks's Circus entire co. at his house" (Aug. 2, 1910, December 1915-April 1916 Richard & Pringle Minstrels Barton & Niswall's, Chicago); "Mary April 1916-November 1916 Sparks's Circus killed keeper" (Sept. 12, 1916, November 1916-September 1920 Standard Theater, Philadelphia Sparks's Circus, Kingsport, Tennes­ September 1920-June 1924 Dunbar Theater, Philadelphia see), and the next day, "Hung Mary" August 1924-0ctober 1924 Shuffle Along touring show (an elephant); "Matinee only. Closed November 1925-March 1926 Rusco & Hockwald's Georgia acct Spanish Influenza, scores of peo­ Minstrels ple die of same disease, go see about April 1926--0ctober 1926 Miller Brother's 101 Ranch Wild West work" (Oct. 3, 1918, Standard The­ and Far East Show ater Orchestra, Philadelphia) and November 1926-March 1927 Strut tin' Sam from A/abam touring "Standard opened, quarantine lifted show today'' (Oct. 30, 1918); "Chief J no. March 1927-April 1927 Bryant's Orchestra, Compton's, Los Wm. Johnson killed by Frisco RR De­ Angeles tective, 3 men killed in action" (Nov. April 1927-September 1927 Miller Brothers 101 Ranch Wild West 1, 1925, Miller Bros. 101, en route to Show Birmingham, Alabama); "Ofay break­ November 1927-February 1933 Silas Green from New Orleans fast dance" (Dec. 24, 1933, Ross's August 1933-November 1934 Ross's Harlem Babies Orchestra Harlem Babies Orchestra, Jackson­ December 1934- May 1935 Silas Green from New Orleans ville, Florida). May 1935-November 1935 Dawnie Brothers Circus Physically, his routebook is an im­ November 1935-December 1936 Backer's Georgia Minstrels pressive thing. Kept in an accounts book with 400 of its 450 pages bear­ ing entries, it weighs twelve pounds cook, talent scout, and seamstress Sloan 1986). Mattie Sloan remembers and measures 12 x 17 x 3 inches. In­ (Sloan 1986); her husband, Frank when he died: "Frank brought me cluded in it are nearly thirty pages of Sloan, was Winstead's bandleader the book. He said Fat wanted me to scrapbook items: programs, ticket (Hayes 1936, 11). McQuitty had con­ have it. I was the only one that stubs, business cards, clippings, and cluded his career with Winstead's would keep it. I was always keeping publicity photos that cover the first second show, Backer's Georgia Min­ things. But he told me not to put it at twenty-five years of his career. When strels, and settled in Fayetteville, the house, to put it with the rest of McQuitty died, Mattie Barber Sloan where he sold bootleg whiskey for the stuff" (Sloan 1986). Fortunately, came into its possession. She was E. S. "Fat" Winstead and played she did not, because Winstead's then working with Winstead's dances for "ofays" every Tuesday warehouse and all of Mattie Sloan's Mighty Minstrels as bookkeeper, and Friday (McQuitty 1937, 393; "stuff" burned shortly afterwards. 3

From then until 1986 she kept to take it. McQuitty's routebook at her home in Today, the handful of people who Laurinburg, North Carolina. remember Mose McQuitty recall him In the ensuing years a few people as Uncle Mose, the grandfatherly fig­ rifled its pages. It begins suddenly on ure who lived mostly for his music "Tues. Sept. 22, 1896 Spickards, Mo" and a couple of evening drinks. They with Wright's Nashville Students. knew him from Winstead's, Charles Several pages between that beginning Collier's Silas Green show, and and the end of the scrapbook are Ross's Harlem Babies Orchestra missing, probably victims of the "ri­ (Sloan 1986; Powell 1988; Abraham flers." I met Sloan after I had written 1987; Pettiford 198-8; Rotinson 1988). an article for the Fayetteville newspa­ E. S. "Fat" Winstead's shows were per. In identifying me, the paper based in Fayettevme (Oxley 1965, 3), noted that I was interested in finding where he owned houses and oper­ information about Winstead's Mighty ated an extensive bootlegging, prosti­ Minstrels in order to document their tution, and gambling network (Sloan role in a musical comedy featurette I 1986; Mitchell 1986; Winstead 1987; was researching (Albright 1986, 2E). Joyner 1988). Winstead's Mighty Most McQuit ty A few days later I received an un­ Minstrels had been barnstorming the signed note that read, "This lady can South since 1931, gathering many you. He taught me a lot. He was the give you all the information you will outstanding performers whose shows oldest man on the show ... big, tall need about Winstead Mighty Min­ had not survived into the Depression. fellow, and a hell of a bass player. strels: Mrs. Mattie B. Sloan" (Ledbet­ By 1937 Winstead's was challenged Hell of a tone. See, you had some of ter 1986). Mattie Sloan's hairdresser as the premiere s!how in the South the best black musicians in the world had read the article, and she had only by Silas Green from New Or­ on that show [Silas Green]. You'd been hearing Winstead's stories for leans.1 Winstead's second show, hear it, you wouldn't know it was a years, so she sent me the note (Sloan Backer's Georgia Minstrels, not only show band, they were that good" 1986). extended his empire but gave him (Robinson 1988). Sloan brought out the routebook the means to occasionally try to Of the half-dozen folks who re­ nearly three hours into our first meet­ break his competition by booking his member him, none recall many de­ ing. She had been showing me clip­ two shows around Silas Green in a tails. He notes in his routebook on pings and photos and letters and series of towns. The days of the trav­ November 19, 1899, at Alexandria, talking nonstop, and it was almost as eling tent show were certainly num­ Louisiana, with the Forepaugh Cir­ an afterthought that she recalled it. bered by then, but Winstead's trav­ cus, "Home sweet home." But he Its binding was mostly in ruins, and eled successfully through 1955 (Sloan makes that same note on a Novem­ its pages had clearly been shuffled 1955; Sloan 1986), and Silas Green, ber 3, 1900, visit to Aberdeen, Missis­ and stuffed back together. It was through the early 1950s. sippi, with the same show. His obitu­ wrapped in an old plastic bag, Trombonist and bandleader Wil­ ary lists as survivors a niece in Bur­ stuffed also with Christmas cards, liam "Geechee" Robinson, who lington, Iowa, and another in Spring­ letter:;, ,md more photos. It would be toured with Fletcher Henderson, Don field, Ohio ("Mose McQuitty, Vet easy to digress here onto Mattie Albert, and Duke Ellington, met Mc­ Actor Dies" 1937, 10). An earlier De­ Sloan, with whom I have spent many Quitty first with Alonzo Ross's Har­ fender had noted, when the Silas days since, bu t to keep directed to­ lem Babies, a dance band from Jack­ Green show was in Huntsville, Ala­ wards McQuitty's routebook: at the sonville, Florida (Allen 1973; Allen bama, that they had visited McQuit­ end of that first evening, she told me 1970); later, with Silas Green, he got ty's cousin, V. C. Gree·n, a social sci­ to know McQuitty better. He says ence teacher at Alabama A&M Col­ McQuitty was greatly respected but lege. And at the show that night, Pro­ ~~DWlbarTheatreis Vlfair "" remained aloof from the younger fessor James H. Wilson of the college "" To Labor musicians: "Most of them weren't se­ presented his composition, "Silas rious. They were good, but they Green March," to the band (Scott weren't serious. But Uncle Mose, if 1929, 7). you were serious, he'd work with McQuitty's name is listed dozens of times on the entertainment pages of the Defender and with some regu­ 1. This is perhaps arguable but is based on in­ terviews with Sloan (1986), Abraham (1987), larity on J. A. Jackson's Billboard and Robinson (1988), and on my survo.y of the "Page" in the early 1920s, when Detail from Mose McQuitty's routebook Defender in the 1930s. · McQuitty was playing with Philadel- 4 phia orchestras. In 1921 Jackson Ghost Walks, is the only current his­ fame. I believe that, by taking the lat­ (1921, 103) reported on "McQuitty's tory to mention McQuitty. He is est songs into countless communities Place," calling it "a recognized ren­ listed with sever.al band rosters before radio and records were acces­ dezvous center for the profession (Sampson 1988, 121, 161, 259, 513, sible to them, these shows were inte­ when they play that city." Recent cal­ 516), but not in the index. gral elements in the dissemination of lers included Tim Bryrnn, Sam Gray, The piecing together of McQuitty's popular music in America, and their Jack Johnson, and members of the life on the road will illustrate and collective histories will mirror that Black Swan Band. An early member parallel the much larger history of music's evolution. Their influence of the Deacons Oub of "Masonic black traveling entertainers in Amer­ has been immense, even after the ad­ Professionals and Associates," Mc­ ica. I hope that the publication of a vent of radio and accessible records, Quitty organized a Comer in Phila­ facsimile edition of McQuitty's because they continued to bring live delphia in 1924 (McQuitty 1937, 11). routebook and scrapbook, together music into venues the bigger stars Started by Jackson and Billy King, with an accompanying text of anno­ never noticed. Today, tapdancer Lon the Deacons sought to provide con­ tation, will provide the narrative to Chaney, one of the stars of Broad­ nections for entertainers when they define the largely neglected black way's Black and Blue, laughs when he were on the road; Corners were their traveling minstrel and vaudeville recalls, "Silas Green was the first live havens. Regular display ads such as shows of the early twentieth century music I ever saw-they were just the following ran for several months and begin to establish their impor­ marching down the middle of the in Billboard that year: tance in music and social history. The street" (Chaney 1989). pictur!;! one gets . .from Coy H~m­ _ Recognition of the importance of Della Dixon and Mose McQuitty's don' s, Tim Owsley's, Billy Steward's, these shows seems particularly im­ Home Place with After-Theater and others' reports from the field, as portant now because in many com­ Lunch published in the national editions of munities there are still former per­ 730 South. 11st St. and 1123 the Defender, indicates that even at formers whose wealth of information Fitzwater St. that time they were struggling with is priceless and irreplaceable. Mattie Philadelphia, Pa. an image problem. Yet, they contin­ Sloan, for example, had been waiting (Advertisement 1924, 73) ued to strive to bring first-class enter­ for about thirty years for someone to Two other sources offer insight tainment to all of America even as show an interest in her career. into McQuitty's life. Defender col­ they struggled to survive in the face Through her, and McQuitty's route­ umns by Tim Owsley, concerning the of increasingly difficult odds. The book, I have met several other former Georgia Minstrels, and Coy Hern­ study of these shows and of their performers: a comic who started with don, concerning Silas Green, both re­ performers, who seldom recorded the Rabbit Foot Minstrels in 1917 port eccentric and sometimes mun­ and were lost to urban audiences by (Joyner 1988), a musician with them dane details of the performances Mc­ the mid-1920s, has been easy to ne­ in 1922 (Quigless 1989), dancers from Quitty lists from town to town in his glect because of the Jack of accessible Silas Green in the 1920s (Abraham routebook. Owsley's and Hemdon's documentation. And even now, the 1987; Pettiford 1988), and other per­ personal biographies,· though barely word "minstrel" suggests too many formers from the 1930s and 1940s documented in current h(stori~s, -images of the hideous caricatures of (Foster 1987; Pettiford 1987; Jones demonsµ-ate that for years they were its origins in America. But though 1987; Robinson 1988, Powell 1988). among the stars of black traveling the black twentieth-century minstrel One of the Silas Green dancers has a show business. In their columns they shows maintained a traditional min­ scrapbook of several hundred candid offer literate and perceptive perspec­ strel show format, with minstrel first snapshots she took in the late 1920s tives of the joys and hardships of this part, olio and afterpiece, into the and many publicity stills of the traveling life. Sometimes they report 1920s, they had mostly abandoned show's cast and her earlier years anecdotes from dates McQuitty had the plantation material that the still­ with the Alabama Minstrels and merely listed: 'While in Birmingham touring white minstrel shows contin­ Montella and Mitchell's Radio Girls Manzie Campbell, Mose McQuitty ued to work in black face until their (Abraham 1987). and Bonnie Oark were special guests demise in the late 1920s. By that time McQuitty was unknown to me to an after show luncheon at the resi­ black minstrel shows were virtually when I first met Mattie Sloan, but I dence of Mrs. Crawford" (Owsley interchangeable with their vaudeville have spent nearly three years with 1926b, 7). And during a western tour, counterparts. During their history, his routebook, and I know much of it Owsley (1926a, 8) notes that every­ they served as inspiration and train­ well. It needs an archival home, and one is sick because of the sudden ing grounds for aspiring stars and it needs a publisher. The accompany­ change in climate, except that "Mc­ places of refuge for those who were ing chronology of Mose McQuitty's Quitty is so tall that he seems to be fading. And they employed thou­ life is based on his routebook, and it the only [one] to escape it." sands of black entertainers, like Mc­ is my hope that it will prove an en­ Henry Sampson's latest book, The Quitty, who never gained legitimate ticement to some scholars. In order to 5 produce a comprehensive edition of 16:73. Owsley, Tim. 1926a. The Georgias. Chicago De­ Albright, Alex. 1986. They helped break fender January 23:8. McQuitty's routebook for publica­ Navy's color barrier. Fayetteriille Obsm,er --. 1926b. The Georgias. Chicago Defender tion, summary histories are needed August 17:2E. March 13:7. of all of thes-e shows except Silas Allen, Dick. 1970. Don Albert and his ten pals. Oxley, Dave. 1965. Interview Digest, Reel I, Green, Rusco and Hockwald's Geor­ Storyt1ille 31:20-25. January 6:3. 1-leid at the William Ransom Allen, Walter C. 1973. Hendersonia: The music of Hogan Jazz Archives, Tulane University, gia Minstrels, and Backer's Georgia F/etchtr Henderson and his musicians. High­ New Orleans. Minstrels. I will be pleased to pro­ land Park, N.J.: Walter C. Allen. Pettiford, Dide. 1988. Personal interview with vide detailed routes to anyone who is Chaney, Lon. 1989. Personal interview with the the author, Hampton, Va., July 16. interested. I have had some success author, New York, March 18. Pettiford, Raymond. 1987. Per:sonal interview Foster, Carl. 1987. Personal interview with the with the author, Greensboro, N.C., July 16. finding reviews based on these author, Greensboro, N.C., July 14. Powell, James. 1988. Personal interview with routes. And if anyone is more inter­ Handy, W. C. [1941] 1970. Father of the blues. the author, Wilmington, N .C., March 10. ested in working on a regional per­ New York: Collier. Quigless, Dr. Milton D., Sr. 1989. Personal in­ spective from McQuitty's routebook, Hayes, Bob. 1936. Here and there. Chicago De­ terview with the author, Rocky Mount, fender August 1:11. N.C., February 21. I would also be pleased to provide Jackson, J. A. 1921. McQuitty's, a professional Robinson, William. 1988. Personal interview routes for particular areas. I have al­ resort. Billboard {December):103. with the author, Wilmington, N.C., May 12. ready cataloged a few states; he per­ Jones, Willie. 1987. Personal interview with the Sampson, Henry. 1988. The ghost w,i/ks. formed in them all. author, Philadelphia, August 24. Metuchen, N.J,: Scarecrow Press. Joyner, Oi..ell. 1988. Personal interview with Scott, Mildred C. 1929. Silas Green show. Chi­ the author, Wilmington, N.C., June 29. cago Defender September 14:7. Ledbetter, Mary T. 1986. Letter to the author, Sloan, Mattie Barber. 1955. Route and receipt References August 18. book for Winstead's Mighty Minstrels. Held McQuitty, Mose. 1937. Routebook. Held in the in the collection of the author. collection of the author. --. 1986. Personal interview with the au­ Abraham, Katie Smith. 1987. Per:sonal inter­ Mitchell, Evelyn. 1986. Personal interview with thor, Laurinburg, N.C., August 24. view with the author, Wilmington, N.C., the author, Fayetteville, N.C., June 13. Winstead, E. S., Jr. 1987. P.ersonal interview April 9. Mose McQuitty, vet actor, dies at Fayetteville, with the author, Fayetteville, N.C., August Advertisement. 1924. Chicago Defender August N.C. 1937. Chicago Defender July 17:10. 21.

A South Carolina Band in London, 1914 by Jeffrey P. Green, Sussex, England

When Daniel Joseph Jenkins some of the most respected black-led were not in poor condition. In the started charity work for orphans in orchestras in the field of popular summer of 1895 Jenkins took a band Charleston, South Carolina, in 1890, music, including those of Duke El­ to London where they fell foul of he initiated a scheme that was to lington, Jelly Roll Morton, Fletcher England's child-protection laws. have several influences on thousands Henderson, Jimmie Lunceford, Count Nineteen years later, in 1914, he re­ of his fellow black Americans. A Basie, Lionel Hampton, Luis Russell, turned to England with another band basic education and vocational train­ and Charlie Johnson. In trumpeter from the orphanage. ing at the Jenkins Orphanage school Cladys "Jabbo" Smith, the orphanage Jenkins had also been in Europe in and farm turned nearly five thousand produced an original and vivacious 1906, traveling around British and waifs into useful citizens. Shoe­ performer who was the closest chal­ French orphanages to investigate repairing, bread-making, printing (in­ lenger to the preeminent Louis Arm­ management techniques. He returned cluding the weekly Charleston Messen­ strong. to Charleston to a reception that the ger), and music-making gave pupils Daniel Jenkins (ca. 1862-1937) was Indianapolis Freeman (December 29, useful skills. Public performances a giant of a man in both physique 1906, 5) noted included "musical publicized the orphanage and its and achievement, and he had consid­ numbers, which were rendered by work. Choral groups, an orchestra, erable connections. The earliest copy the best local talent." He and his sec­ and brass bands were part of the op­ of the Charleston Messenger to have ond wife Eloise had left their daugh­ portunities at the Jenkins Orphanage. been located, that of May 7, 1898, ter Olive in the hands of an English The bands traveled around the states that he was the sole import midwife shortly after her birth in United States each summer (but sel­ representative of the British musical Wigan, Lancashire, in November dom if ever west of the Mississippi), instrument-maker Abraham Collins 1906. She remained in England until ventured into Canada, and crossed of London (who in tum was succes­ 1920. One of his sons by his first mar­ the Atlantic to perform in England. sor to the reputable Distins), which riage, Edmund Thornton Jenkins In the 1920s and 1930s Jenkins strongly suggests that the instru­ (1894- 1926), was called from his alumni worked in the company of ments available at the orphanage studies at Morehouse College in At- 6 lanta to join the brass band in a party of twenty-eight that left Charleston in May 1914 to work at the Anglo­ Program of Music to be Played by the Jenkins Orphanage Band American Exposition in London. July 24, 1914 Billed as the American Piccaninny Band and employed for ten weeks, 11:45 A.M. to 12:45 P.M. their work at the White City exhibi­ March Battle Commander Hernandez tion complex four miles west of the Two-Step The Trail of the Lonesome Pine Smith center of London was so successful Comedy Waltz Frau Louisa Pryor that in July the contract was ex­ Medley Man:h The Good Ship Mary Ann LeBoy tended into October 1914, when the Waltz The Curse of an Aching Heart Exposition was scheduled to close. Richmond Six postcards of the band were on Overture The Fall ef Jericho Maillochand sale to the public-one showed just Cake-Walk Coon Band Contest Pryor John Garlington, the ten-year-old 2:45 P.M. to 4:45 P.M. conductor; another showed a tall March National Emblems Bagley sousaphone player looking down on Waltz The Charmer the diminutive Garlington (see the Witmark Two-Step I Love the Ladies accompanying photographs from re­ Berlin productions of three of the postcards, Dance Mimi Robinson page 8). Few visitors to the exhibition Peg o' My Heart Fischer in­ could have missed the seventeen Intermission, Fifteen Minutes strumentalists, whose schedule in­ Caprice Love's Enchantment volved performing at different band­ Losey stands throughout the grounds. Barcarolle Les Contes d' I loffmann Offenbach A program of Friday, July 24 Characteristic Reverie Sliding Jim Losey shows that the other two bands were You're My Baby, introducing Be My Little Baby Bumble Bee Douglas regimental (20th Hussars, Lincoln­ Two-Step That Ragtime Regiment Band Morris shire Regiment) and that the Jenkins 6:00 P.M. to 7:30 P.M. band started work at 11:45 A.M., play­ ing seven selections in one hour and March That Colden: West Losey Novelette Wooing the Muse then resting until 2:45 P.M . when they Brooks played for two hours with a break of A Joplin Rag The Smiler Wenrich fifteen minutes. They appeared in Song Rebecca of the. Sunny Brook Farm Cumbie public again from 6:00 P.M. until 7:30 Two-Step Down in Chattanooga Berlin P.M., with a fifteen-minute break, and Intermission, Fifteen Minutes then from 8:30 P.M. until 9:45 P.M., with a final thirty minutes beginning Caprice Dance of the Nymphs Buglioni at 10:15 P.M. (see the accompanying Gaby Glide Monaco program listings). The regimental Serenade Moonliglil Moret bands played until 11:30 P.M., but One-Step Beaux Esprits Tompkins neither started before 1:00 P.M . The South Carolina waifs were on the 8:30 l'.M. to 9:45 l'.M. bandstands just fifteen minutes less March United Service H ernandez than the soldiers. Celebrated Waltz from n Trovatort (Verdi) St. Clair The outbreak of World War I at Two-Step The Midnight Choo Choo Berlin the beginning of August led to re­ Air de Ballet La Mouche d'Or Armstrong strictions by the date of the second Rag Frow, Bill Pryor program that has survived the Selection The Jolly Elks Patrol Frey years- Tuesday, September 1, 1914. Medley You've Cot Your Mother's Big Blue Eyes Berlin This program shows that the Jenkins Razzazza Mazzazza Pryor band started its public performances at 11:00 A.M. and was on the band­ 10:15 P.M. to 10:45 P.\l stands for the same, no-doubt i::on­ March Captain Cupid Pryor tracted six hours and fifteen minutes. Selection Wonderland Douglass Three other bands (the Grenadier The Stars and Stripes Forever Sousa Guards and two nonmilitary groups) 7

sousaphone player. Garlington, the conductor, had six colleagues under Part of the Program of Music to be Played by the Jenkins Orphanage Band the age of twelve. The group also in­ September 1, 1914 cluded supervisor Pi!ul Daniels (age 30) and a teacher, Sallie L. Bacon (age 4:45 r.M. to 6:30 r.M 26) ("Passenger List" 1914). March Battle Commander Hernandez The problems of identifying the in­ Overture The Mystic Mau Dalbey strumentalists in the postcards and Two-Step You've Got Your Mother's Big Blue Eyes Berlin on this passenger list are com­ Baritone Solo Blue Bells of Scotland De Ville pounded by the facts that there are more names than faces and that tu­ One-Step Jamais Trap Frey ition at the orphanage enabled skills Intermission, Fifteen Minutes to be acquired on more than one in­ Comic Rag March A Slippery Plaa Hacker strument. For example, like Jabbo Smith, William "Cat" Anderson, a A Japanese Romance Poppies Moret Two-Step I Miss My Mississippi Man Wenrich famed trumpeter, was also a trom­ bonist; and William "Bill" Benford Selection Wonderland Douglass played the bass in the twenties but 7:30 P.M. to 9:00 P.M. has been identified by his younger March Richelieu Boisvert brother, Thomas Benford, as a side Overture The Elves Kiefer drummer in 1914 London. Dreher Two-Step The Trail of the Lonesome Pine Smith may be the sousaphone player. Edward Patrick played the comet Selection The Dana of the White Rats Kamman and his brother Jacob the trombone Frey [sic) Beaux Esprits with Will Marion Cook's Southern Intermission, Fifteen Minutes Syncopated Orchestra in England in Two-Step Tfud Ragtime Regimental Band Morris 1920 (Rye 1986, 219). Edmund Jenkins (clarinet) returned to England ldyl Glow Worm Llncke to study and teach at the Royal Acad­ Irish Intermezzo On the Rocky Road to Dublin Ephraim emy of Music. Get Out and Get Under Abrahams Lucius Aiken was the brother of Finale Stars and Stripes Forever Sousa Gus and Gene "Buddy" Aiken (usu­ ally spelled Aitken in jazz books). Gus Aiken was a trumpet player with Louis Armstrong, Sidney played until the close at 10:00 P.M., Lucius Aiken, 18 Bechet, Luis Russell, and Charlie with the soldiers playing for five Alonzo Mills, 18 Johnson. Alonzo Mills later taught at hours and the others for about four Jacob Patrick, 18 the orphanage and trained Jabbo hours each. The Charleston band's Emerson Harper, 17 Smith. He returned to London with renditions are not fully known as the Stephen Wright, 17 an orphanage band in the stage play program is missing one page, but Eunice Briggam, 16 Porgy, in 1929. Emerson Harper (clar­ there appears to be no radical differ­ Clinton Brown, 16 inet) made recordings in the twenties ence from the selections played in Jacob Frazier, 16 and then worked in radio in New peacetime five weeks before. William Gibbes, 16 York; he befriended Langston The band left Liverpool for New Augustus Aiken, 15 Hughes to the extent that Hughes's York on the St. Louis on September 5, William Benford, 14 autobiography, The Big Sea (1940), is 1914. In view of the group's punish­ George Thayer, 11 dedicated to Harper and his wife. ing schedule, it was wise for Jenkins Marion Rennicks, 11 Hughes spent the last years of his life to have brought spare performers, as Charles Brown, 11 living with the Harpers in New York shown by the passenger list, which Horace Holmes, 11 (R;impersad 1988, 6, 37,417). names twenty-one known instrumen­ John C. Garlington, 10 Stephen Wright (drums) and Ed­ talists as follows: William Thomas, 10 ward Brown (trombone) have not been traced, nor has the career of Clarence Dreher, age 21 The average age of the band mem­ Clinton Brown (baritone horn). But Edward Patrick, 20 bers was fifteen, the oldest being through John Chilton (1980) we Edmund Jenkins, 20 Clarence Dreher, aged twenty-one, know that Eunice Briggam or Edward Brown, 18 whom we might suppose was the 8 9

Briggams (cornet) joined the orches­ against the Natives' Land Act of radio, sound recordings, theaters, tra of Alphonso Trent. William 1913, which reserved eighty-seven and dance halls to academies-owed Gibbes (horn or comet) worked at percent of South Africa for whites. their basic training to outwardly Smalls' Paradise in Harlem in the Such laws were passed in South Af­ prison-like waifs' homes and orphan­ 1920s when Jake Frazier (trombone) rica, for the imperial government in ages reflects the social system of that recorded with Bessie Smith and on London had direct control only over era but should be regarded as a other New York record dates. South Africa's external affairs after major success of Afro-America and, The younger musicians who have the Union in 1910. The South Afri­ in the case of the Jenkins Orphanage had their careers traced include only cans of the African National Con­ of Charleston, South Carolina, a Thayer (horn or drums), who worked gress (ANC) protested to London major contribution to black music. in circus bands, and Holmes (cornet), and tried to get imperial influence to The need for further research is who after studying at Morehouse overturn the 1913 legislation. Plaatje strongly suggested by a recent College was to work with Elmer visited the exhibition in July, met Smithsonian publication about Amer­ Snowden and Cliff Jackson. Perhaps with the band, and used postcards of ican brass bands (Hazen 1987) which the others, like so many Jenkins the band for correspondence into Oc­ has no more than ten pages of two alumni, worked in weekend gigs in tober 1914. Two decades before, hundred detailing black brass bands. the jazz era, adding to an income Plaatje had participated in music­ Even New Orleans research twenty earned outside the field of music. making in Kimberley, the diamond years ago located about twenty pho­ The social side of the band's activi­ mining center, where Will Thompson tographs of brass bands (Rose and ties in the summer of 1914 was exten­ of the Fisk Jubilee Singers had made Souchon 1967). What other documen­ sive, although the engagement at the a lasting impression (Willan 1984, 43- tation awaits the researcher in the White City was very full. Jenkins and 45; 175). Plaatje remained in England field of black brass band music? his wife went to see their daughter in and saw his Native Life in South Africa Wigan. Edmund Jenkins, with one of into print in 1916. In August 1919 he References the Pa tricks, attended a service at returned to England from Africa and Westminster Abbey at the end of Au­ mixed with a musical and ambitious gust and there saw Kemper Harreld group around Edmund Jenkins, Chilton, John. 1980. A jazz nursery: Tht story of the Jenkins' Orphanage Bands. London: Will and his wife. Harreld, who taught which included Marion Cook, Bloomsbury Bookshop. (This well-illustrated music in Atlanta, had been in Berlin several West Africans, and a delega­ monograph is still availal>le from Storyville, with Hazel Harrison and after some tion from Guyana (then British Gui­ 66 Fairview Drive, Oiigwell Essex !G7 6HS, difficulties passed through neutral ana). Before he returned to South Af­ England.) Green, Jeffrey P. 1982. Edmund Thbrntcm Holland to arrive in London (Green rica, Plaatje was to be involved with Jenkins: The life and times of an American black 1986). Du Bois and Garvey in New York composer, 1894-1926. Westport, Conn.: Daniel Jenkins, excited by the visit and with Florence Mills in London in Greenwood Press. of some London councillors, wrote to 1923. --. 1984. Beef pie with a suet crust: A black childhood in Wigan (1906-1920). New Governor Coleman Blease of South Daniel Jenkins and his adult col­ O,mmunity (London) 11, no. 3 (Spring):1 7>- Carolina asking for similar under­ leagues benefited from such contacts 178. (This is largely an interview with Olive standing and approval of his work in in London in 1914, and there can be Harleston Jenkins, who died i.n New York Charleston. It seems likely that one of no doubt that their reception encour­ in August 1987.) . --. 1986. Kemper Harreld. Stc,ryuille no. the councillors was Mayor John aged them to continue with the work 124 (April-May):138-139. Archer of Battersea, who was a "race which, in just one field of music, has Hazen, Margaret Hindle, and Robert M. man," having been born in Liverpool been described as a jazz nursery. Hazen. 1987. The music men: An illustrated of a Barbados father. He had earlier Concert hall recital music was part of history of brass bands in America 1800-1920. Washington, D.C.: The Smithsonian Institu­ written to the Afro-American journal­ the Jenkins Orphanage program, and tion. ist John ("Bruce Grit") Bruce in New unlocated copies of the Charleston Passenger list of the St. Louis. 1914. Public Rec­ York, informing him that he intended Messenger would seem to be the best ord Office, Kew, England, file BT 27/842 . Rampersad, Arnold. 1988. Tht life of uingstcm to be involved in the Exposition. source for documenting this activity. Hughes. Vol. 2: 1941-1967, I dream a world. The councill.ors, various members It does seem that, even if other New York: Oxford University Press. of Europe's aristocracy, and the or­ Afro-American institutions did not Rose, Al, and Edmond Soucnon. 1967. New Or­ ganizers of other exhibitions paid at­ have the success in Britain that was leans jazz: A family album. Baton Rouge: Lou­ isiana State University Press. tention to the band, but the contact attained by the band of the Jenkins Rye, Howard. 1986. The Southern Syncopated that was both unexpected and some­ Orphanage, investigations into more Orchestra. In Under the imperial carpet: Essays what exotic was with an African. One southern cities may show that some in bla,;k history 1780-1950, edited by Rainer doubts that the youthful musicians performers had tuition similar to that Lotz and Ian Pegg, 217-2:32. Crawley, Sus­ sex: Rabbit Press. took much notice, however. of the Charleston orphanage. That Willan, Brian. 1984. Sol Plaatje, South African Solomon Plaatje had come with many blacks who participated in natiorn,list 1876-1932. Los Angeles: Univer­ others from South Africa to protest music-making-from circus rings, sity of California Press. 10

Aspects of Musical Activities in the Black Communities of Baltimore and Washington, D.C., 1840 to the Early 1920s

Doris Evans McGinty, Howard University

In the nineteenth century, commu­ sical activities, heard many of the churches in Washington and Balti­ nities of free blacks responded to the same visiting artists, and exchanged more provided sermons for the isolation imposed upon them in local musicians freely. A view of key morning and evening services, and American cities by developing their aspects of the musical life in these praying bands led prayer meetings separate institutions and customs. two cities should add to our under­ during the day (New York Age Au­ Music was important to the effective­ standing of black American culture gust 7, 1886). Available evidence ness of many different institutions from the pre-Civil War era to the does not indicate exactly what was varying in type from the Lyceum post-World War I years. sung at these meetings beyond the and Literary Societies to informal "at The earliest musical activities of usual hymns, but it is virtually cer­ homes" and club picnics. The church, record in the area took place in the tain that the spiritual songs, ring although less dominant than in pre­ camp meetings, some of which were shouts, and surge singing prominent Civil War days, was still the matrix sponsored by the black church as in the camp meetings of the earlier of religious as well as social activity early as the 1820s (Southern 1983, 82- nineteenth century were abundant in the black community. Apart from 88). Reference was made as early as (Southern 1983, 82-89). The Washing­ its regular services, in which music 1838 to a camp meeting attended by ton Bee and the Afro-American Ledger played a prominent part, the church 7,000 at a site near Hagerstown, continued to carry advertisements for found it profitable to sponsor con­ Maryland. After the preaching, we camp meetings well into the twenti­ certs and recitals of local performers are told, black participants formed a eth century. as well as visiting artists. Recrea­ circle and sang so loudly as to drown Informal singing also existed as tional activities presented another as­ out singing by the white congrega­ part of the church services, especially pect of music in the black urban tion (Levine 1978, 21). This meeting in the days before choirs had been communities. While music designed was located at a point much closer to solidly established. Singing in nine­ for concert and recital reflected gen­ Washington than to Baltimore, but teenth-century Bethe[ Memorial eral trends of mainstream American residents of both cities may have at­ Methodist Church of Baltimore was musical culture, music surrounding tended. There is a much greater cer­ described by a white observer as "too recreational events and also music of tainty of attendance by Baltimore enthusiastic" and reminiscent of informal religious services showed and Washington residents at later "corn-husk cries, groans, wails, more clearly the imprint of African camp meetings, which were held fre­ laughs, measured stamping of feet," American music idioms and per· quently in this area of the country. all performed in such a manner as to formance practices. By the tum of the Descriptions of two that occurred disturb the entire neighborhood (Bal­ twentieth century, the influence of during the height of the 1886 camp timore Clipper June 17, 1840). Method­ the African American musical styles meeting season appeared in the New ist Bishop Payne (1888, 92-94, 253- expanded as blues, ragtime, the pop· York Age. The first, at Asbury Grove 254) indicates that he encountered ular music of the musical theater, camp grounds, was attended by a considerable resistance in his attempt jazz, and gospel developed. crowd estimated at 8,200, of which to suppress the shout in the services Washington, D.C., and Baltimore, 2,000 were thought to have come "by of Baltimore churches, and there is Maryland, located about thirty-five foot, horseback, and vehicles" from evidence that earlier singing tradi­ miles apart, are two cities that had western Maryland and the surround­ tions were also continued in Wash­ large populations of free blacks be· ing country, and 1,400 by train from ington churches. For example, one fore the Civil War. In both cities the Hagerstown and points west. (This Washington church prompted this black population grew rapidly dur­ probably included Washington, D.C., description by a white passerby: "the ing the era of Reconstruction. Evi­ and Baltimore.) As seems to have little building [was) crowded to its dence available from African Ameri­ been characteristic of these occasions, utmost capacity. The ... minister can newspapers and memoirs of about one-half of those in attendance was praying in a loud tone, the those who lived in the area during were said to be white. The second words coming so strong and so fast it the nineteenth and early twentieth was a Union camp meeting which was impossible to understand one centuries reveals that blacks in the took place at Irving's Park near An­ word he said, but his hearers evi­ two cities participated in similar mu- napolis Junction. Ministers from dently understood him for several fe- 11

males were shouting vigorously, and Fifteenth Street Presbyterian, Israel Philadelphia; the Amphion (1891) at short intervals would utter a pierc­ Colored Methodist Episcopal, St. Au­ and Orpheus (1883) Glee Clubs, both ing shriek. It was just such a scene as gustine (Catholic), Nineteenth Street male vocal ensembles; and the Sam­ I once witnessed years ago among and Shiloh Baptist churches, and St. uel Coleridge-Taylor Choral Society the slaves in a Southern State" Luke's (Episcopal) of Washington. (1901), probably the most famous of (Gemmill 1883, 39). The repertoire of the church choirs several such societies in America. More formal church-related musi­ during the period under discussion Coleridge-Taylor, himself, conducted cal traditions, which met with Bishop was drawn from the larger standard the organization in the performance Payne's approval, developed in the choral works of Haydn, Handel, and of his works in 1904 and 1906 (Mc­ first half of the nineteenth century. Mendelssohn and included also the Ginty 1985, 91- 98). Baltimore audi­ An early collaboration between favorite cantatas Queen Esther, David ences enjoyed these Washington per­ Washington and Baltimore forces led the Shepherd Boy, and Dubois's The formers as well as their own Centen­ to the first sacred concert to be per­ Seven Last Words of Christ. Easter, nial Jubilee Singers, Avon Quartet, formed in the black Methodist Christmas, and the closing concert of Albion Singing Association, Phonetic Church. In 1843 Bishop Daniel Payne May or June represented the high Quartette, Juvenile Troubadours, and called upon a group of musicians points in the church choir year. Lyric Female Singing Society (Balti­ from Washington, D.C., to perform a Choir concerts and sacred concerts more Sun May 1, 1875; Afro-American concert in Baltimore for the purpose blended into a concert season filled Ledger 1896-1911). A few singers left of raising funds for the newly con­ by visiting artists, local soloists the area and gained national reputa­ structed Sara_tqga S~r,eet __ hp!Jle _of (~nly vocal), anq voc!ll ensembles tions. Lillian Evanti, a sopra~9 (1890- Bethel Methodist Church. Dr. James such as quartets, octets, and Glee 1967) who was born in Washington, Fleet directed a quartet consisting of Clubs. Visiting chojrs from Fisk Uni­ became an internationally known Elza Huston (soprano), Fannie Fisher versity (Nashville, Tennessee) and opera singer; and tenor Lloyd Gibbs (alto), James Wormley (bass viol), Hampton Institute (Hampton, Vir­ (ca. 1886-1951) of Baltimore traveled and Mrs. Hermion Fleet (piano) in in­ ginia), and singers Anita Patti Brown with the Bert Williams and George strumental selections and in songs (1870s-1950s), Flora Batson (1864- Walker shows of the early twentieth whose lyrics were written especially 1906), Madame Marie Selika (1849- century. for the occasion. Bishop Payne (1891, 1947), and Sissieretta Jones (ca. 1869- Instrumental ensembles developed 456) reported that the second sacred 1933) included Baltimore and Wash­ in the 1860s. Christian A. Fleetwood, concert in Baltimore, conducted by ington in their toul!'S, usually appear­ a Baltimore native wlho moved to William Appo (ca. 1808-after 1877) of ing in the larger churches. Local Washington, organized cadet bands Philadelphia, involved seven violin­ performers benefited, for it was the which took part in festivals and pa­ ists as accompanists and featured custom to present local performers rades alongside bands from various Elizabeth Tay1or Greenfield (1824- from time to time on programs of lodges. Bands from Baltimore joined 1876). The sacred concert consisting visiting artists. At the tum of the cen­ Washington bands to celebrate the of both instrumental and vocal music tury the-concert season became more emancipation of Washington, D.C., became firmly established as a 'Staple varied; among those who were pre­ slaves in April of 1862., ·while Wash­ of the musical _off~~gs }n. ·.b!a~k .. sent¢ were violinist Joseph Doug­ ington bands in tum ma!ched in Bal­ Washington, D.C., anq Balµmore for. lass (a resident of Washington, D.C.), timore to celebrate the Emancipation decades to come. ,, , . __ . pianists Raymond Lawson and Portia Proclamation (Graham 1982, 188, Performances by the church choirs Washington Pittman, organist Mel­ 254). The bands provided entertain­ were consider,ed by some to repre­ ville Charleton, the Mozart Conserva­ ment for picnics, banquets, riverboat sent the finest musical achievement tory Concert Orchestra of New York excursions, celebrati'ons, dances, of the black community in the nine­ directed by Alfred F. Mando, and cake-walking contests, and serenades. teenth century. By 1843 Bethel Me­ others. With the appearances of Black And they gave concerts! In 1889 morial Methodist Church in Balti­ Patti and Her Troubadours and John Fleetwood formed an orchestra with more and Union Bethel (later Metro­ W. !sham's troupes in The Octoroons Will Marion Cook, recently returned politan A.M.E.) of Washington had and Oriental America, Baltimore and to Washington from violin studies in developed formal choirs. Although Washington audiences saw their Germany, as conductor. Under the Methodist churches were in' the fore­ share of early vaudeville and musical patronage of Frederick Douglass, the front, choirs of other denominations theater. orchestra played not only locally but also won praise from the press. The list of local performers in nine­ also in other eastern cities. Among those prominent before 1900 teenth-century Washington was The years from 1900 to the early were the choirs of Sharp Street Me­ headed by The Original Colored 1920s were momentous ones in terms morial Methodist Episcopal, Union American Opera Troupe, an opera of the growth of popular music Baptist, St. James First African Protes­ company that in 1873 made ·success­ styles. As the new musical styles de­ tant Episcopal, all of Baltimore; an<;i ful appearances in Washington and veloped, new avenues for playing 12 and hearing music came into exis­ ment patronized by celebrities, in­ music forms in the early twentieth tence. Thomas H. Kerr, Sr., a phar­ cluding well-known ragtime pianists. century, the black urban community macist and violinist who led a dance Here Blake learned intricacies of developed rich and varied forms of band in Baltimore during these years, piano style from the finest artists musical activity. By the 1920s the spoke of the sweeping influence of (Rose 1979, 21-27; Kimball and basis had been laid for th!'! wealth of ragtime and the competition among Bolcom 1973, 46). music to be found in these communi­ dance bands for employment on riv­ There were also new avenues in ties today. erboats and opportunities to play Washington for hearing the new concerts which concluded with music. Frank Holliday's Poolroom, References promenades and dancing (Kerr 1972). located next to the Howard Theater, Ragtime "cutting" contests became was a hangout for performers ap­ <imcrt Clipper, 1840. popular with the bands and with in­ pearing at the theater as well as for Ellington, Edward Kennedy. (1973) 1976. dividual performers, especially pia­ their fans. Washington's most fa­ Music is my mistrtss. New York: Da Capo. nists (Kimball and Bolcom 1973, 44). mous musical son, Edward Kennedy Gemmill, Jane. 1883. Notes cm Washington, or Theaters, such as the Howard The­ "Duke" Ellington, played piano at six years al the natibn's capitol. Washington, D.C.: Brentano Bros. ater in Washington and the Royal in Holliday's as well as at Jack's on Sev­ Graham, Leroy. 1962. <imon: The nineteenth Baltimore, were important in bring­ enth Street and at the Oriental Gar­ century black capital. Lanham: University ing popular music, jazz, blues, and dens, learning the secrets of the Press of America. ragtime to the masses through their music entertainment business from Jewel, Derek. 1977. Dulce: A portrait of Duke El­ lington. New York: W.W. Norton. Jive shows. fellow musicians before he began Kerr, Thomas H., Sr. 1972. Interview with the Several famous Baltimore and "running" bands for dances and par­ author. Washington musicians played in jazz ties. During his Washington years, Kimball, Robert, and William Bolcom. 1973. Ellington met four performers who Reminiscing with Sissie and Blake. New York: or syncopated bands. Drummer Wil­ VI.king Press. liam "Chick" Webb (1909-1939) later became members of his band: Levine, Lawrence W. 1978. Black culture and played with riverboat bands, as did Otto Hardwick, Arthur Whetsol, black conscihusness. New York: Oxford Uni­ composer and pianist James Hubert Elmer Snowden, and William A. versity Press. "Sonny" Greer (Ellington 1976, 23, McGinty, Doris. 1965. The black presence in "Eubie" Blake (1883-1983). Elmt?r the music of Washington, O.C. In More than Chester "Pops" Snowden (1900- 49; Jewel 1977, 27-30). During the dancing, edited by Irene V. Jackson, 81-105. 1973), guitar, mandolin, and banjo years from 1910 to 1930, well-known Westport, Conn.: Greenwood Press. player, performed at theaters in musicians, including Marie Lucas (ca. New York Age, 1683-1900. 1880-1947) and Claude Hopkins Payne, Daniel A. 1891. History of the Afri,:tm Washington and Baltimore and was a Methodist EpiSCDpal Church, edited by C. S. member of Blake's band (Southern (1903-1972), conducted the Howard Smith. Nashville: Publishing House of the 1982, 352). Ford Dabney conducted Theater orchestra. This was also a A.M.E. Sunday-School Union. the orchestra at the Ford Theater in time when the classic blues singers --. 1886. Recollectibns of =enty ye,,rs. and the musicals of George Walker Nashville: Publishing House of the A.M.E. Baltimore (Rose 1979, 81). Eubie Sunday-School Union. Blake, who learned ragtime piano in and Bert Williams became the favor­ Rose, Al. 1979. Eubie Blake. New York: Schir­ the "social underground'' of Bal­ ite entertainment of Baltimore and mer Books. timore's "red light" district, worked Washington theater audiences. Southern, Eileen. 1962. Biographical dictibnary of Afric,,n and Afro-Americ,m musicians. West­ in one of Baltimore's remarkable in­ From camp meeting song and sa­ port, Conn.: Greenwood Press. stitutions, the Goldfield Hotel. The cred concert of the nineteenth cen­ --. 1983. Tht music of black Amtrialns. 2nd Goldfield was an elegant establish- tury to the explosion of popular ed. New York: W.W. Norton.

CBMR EDITORIAL

Samuel A. Floyd, Jr., Center for Black Music Research

Considering widely cited demo­ and universities, we find it puzzling the society at large. graphic changes for the year 2020 that our major music schools and To my knowledge, only The Col­ and beyond, the climate of racial ani­ professional societies have not taken lege Music Society has in the 1980s mosity on college campuses, and the substantive action to help address assumed a significantly active role in paucity of minority faculty and grad­ the problems that pose serious addressing some of the concerns that uate students in American colleges threats to higher education and to face us. CMS's efforts in this area in- 13

elude its 1983 Report on the Status of and university music schools and de­ course, working outside the ivory Minorities in tire Profession, its reissue partments also appear to be unre­ tower and with secondary teachers of the CBS Records' Black Composers sponsive or unproductive where the and administrators to encourage stu­ Series of sound recordings, its contin­ black presence is concerned. And dents in secondary schools to select uing series of joint meetings with the some of their efforts seem to be mis­ academic careers in music and to pre­ Center for Black Music Research, its guided. In fact, for such institutions pare them for such careers. treatment of minority musics in its to continue to compete for minority To assist the profession in address­ Summer Institutes for Music in Gen­ faculty and students from existing, ing these problems, the Center for eral Studies, and the planned release pitifully inadequate pools without Black Music Research has organized of a new and updated edition of providing leadership and programs its CBMR Forum (see CBMR Digest 2, James Standife.r's and Barbara to increase the sizes of those pools no. 1:6), and it will offer in the sum­ Reeder-Lunquist's Source Book of Afro­ borders on irresponsibility. The mi­ mer of 1990 an Institute on the American Materials for Music Educators nuscule sizes of these pools should in Teaching and Research of Black (MENC, 1972). The College Music So­ itself suggest that efforts should also Music, with a specia I section for ciety is to be applauded for its active be made to attack the problem on a music administrators. We hope that stance on issues related to minority more fundamental level. this effort will be joined by others as participation in higher education. Ten-year, fifteen-year, and twenty­ we move tenuously toward the new While the leadership of other socie­ year goals for increasing the number century. The officers amd governing­ ties recognize and decry the prob­ of available applicants should be set board members of our professional lems we face, they seem unwilling to by the leadership of our professional societies and the administrators of move their organizations to substa.n­ societies and our institutions of our music schools should provide the tive and productive action. College higher learning. This means, of leadership.

Available from Kraus International Publications Two highly acclaimed works by Samuel A. Floyd, Jr. and Marsha J. Reisser: BLACK MUSIC INTHE UNITED STATES: An AMOlllod 8~ol Stllctod RotMne• l R-lbttrloll Aoompanion work IO Black Music in Ifie United Slates, lhis OOl!lj)f8hensive. anno­ The first comprehensive, annocated bibliography on lhe black musical lated bibliography covers wot1(s on o.er 85 individual musieiallS and prO'lides hetitage in Amenca. This unique work contains more than 400 biblio­ i~th commentary on tile t:Ner 145 biographies written up through eariy 1985. graphical and archival entries dealing with all phases of black music. ''. . .This Information-packed bibliography Is a must tor the, inlerasttd ". • . Highly rt·eommended." -library Journal llyman as well as lhe sludenl and scholar ••." ·: .•this pubilutlon /s hig/1/y recommended; nshould be eons/de/Id -The Black Perspecti\'t In Music essential tor mosl undeigraduate and graduate collections." ·: •. This Is, major conlrlbulion lo (lht/ field ..•" -Choice -1988 American Relmnce Boob Annual Floyd, Slmu•I II.. Jr. and lllrw J. ReiSSli<1< 105<6 Fu (914) 762-1195 ISSN tJ.527,30158-2 cloth 135.00 14

Call for Proposals: Black Music in Chicago 1991 National Conference on Black Music Research October 10-13, 1991, Chicago, Illinois

The theme for the 1991 National cago, 1945-1970 highest standards of scholarship and to CBMR style principles; they are Conference on Black Music Research VI. Chicago's Black Composers will be "Black Music in Chicago." automatically considered for publica­ of Concert Music Based on the Center's perception of tion in Black Music Research Journal. the needs of the field and on the in­ VII. Chicago Profiles: Major Information about BMRJ and a style quiries and statements the Center re­ Black Contributors to the Devel­ guide will be sent to the authors of ceived in response to a previous re­ opment of Music and Musical accepted proposals. quest, the following topics have been Culture in the United States The deadline for the submission of proposals for presentations is Febru­ designated as tentative areas of in­ Vlll. Music Criticism and Black ary 1, 1990. Proposals should run be­ vestigation for the conference. Music: Chicago Connections tween 300 and 900 words (1 to 3 I. Musical Events and Institu­ IX. Research Resources: Institu­ pages) and should consist of the fol­ tions in Chicago, 1890-1970 tional Collections, Private Col­ lowing elements: 1) topic, 2) purpose lectors, and Their Relationships of the paper, significance and justifi­ II. Researching Ragtime and to Scholars cation of the topic, 3) statement of Jazz in Chicago current scholarship on the subject, X. The Mississippi Valley: Black and 4) summary statement. III. Chicago Blues-Song, Music Connections between Boogie Woogie, and Urban Direct all proposals to: Morris and among Cities from New Blues: Beginnings to 1950 Phibbs, Coordinator of Programs and Orleans to Chicago Services, Center for Black Music Re­ IV. Black Gospel Music in Chi­ Proposals should be prepared with search, Columbia College Chicago, cago: Beginnings to 1960 the understanding that the eventual 600 South Michigan Avenue, Chi­ V. Black Popular Music in Chi- invited papers must conform to the cago, IL li0605-1996.

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. sul>­ tural activity in black American music and is Information submitted for inclusion should be sc:ribers 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 and activities in universi­ 600 South Michigan Avenue, Chicago, Illinois South Michigan Avenue, Chicago, Illinois ties and research centers. 60605-19%. 60605-19%. Telephone: 312/663-1600, ext. 259.

Editgr: Samuel A. Aoyd, Jr. Associate Editor: Orin Moe Production Assistant: Trenace V. Ford Man@girlg Associate Editor: Marsha J. Reisser Associate Editor: Rae Linda Brown e 1989 Columbia College