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Spring 4-1-1987

Black Music Research Newsletter, Spring 1987

Samuel Floyd Columbia College Chicago

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NEWSLETTER <. B \I I{ COLUMBIA COLLEGE CHICAGO Vol. 9, No. 1 ISSN Number 0271-3799 Spring 1987

Black Music in New Orleans: A Historical Overview by Curtis D. Jerde, Tulane University

Long before the more prominent of any American city." Accordingly, it cended to play dance music for special metropolitan centers of today (e.g., served as the site of some of the earliest occasions did white musicians as a rule New York, Chicago, Los Angeles) could and most extensive Afro-American deviate from that norm. claim the distinction, New Orleans music development of any urban com­ Blacks in early New Orleans not only qualified as the nation's music capitol. munity in the nation .. gathered to dance indoors at public Historian Henry A. Kmen's Music in Black musical activity in New Or­ facilities, they also indulged them­ New Orleans: The Fonnative Years, 1791- leans dates back to at least the last de­ selves in such recreation in the open 1841, published by Louisiana State Uni­ cade of the eighteenth century. In keep­ air. Such outdoor promenades antici­ versity Press in il.966, tells the story of ing with the cultural character of the pated a cultural pattern that became America's first music city. In his preface, community, and consistent with an customary all the way into the jazz age, Kmen makes reference to the Crescent overriding motif of the black musical when such gatherings become memor­ City as a cultural center, "one which in heritage, it began primarily in connec­ able at sites like hlstoric Lincoln Park. its own way, rivaled the fabled 'flower­ tion with dance activity. Moreover, it During the late eighteenth and early ing of New England.'" had strong association with the growth nineteenth centuries, slaves (and possi­ As Professor Kmen intimates, of a pervasive street and saloon ambi­ bly even freemen in some instances) nineteenth-century New Orleans pos­ ence. danced in designated open expanses, sessed a rich and varied musical prod­ Case in point: in April of 1799 the ostensibly only at times prescribed by uct ranging from philharmonic to Spanish colonial government granted law. Place Congo (Congo Square) popular sensibilii!y, and including both one Bernardo Coquet permission to served as the designated area in that sacred and secular involvement. The begin holding public dances at his es­ period. growth of vernacular idioms is, how­ tablishment on St. Phillips Street for Motivated by intentions to con­ ever, most characteristic of musical de­ people of Afro-American descent. The struct a plantation economy, the velopment indigenous to New Orleans dialogue surrounding this transaction Spanish colonial government had in in its history. Based upon an accultura­ strongly suggests that such functions fact taken action in the decade follow­ tive process quite probably at work al­ had actually occurred there, and at ing the American Revolution to give ready in the colonial period, band comparable establishments in the city, impetus to growth of the slave popu­ music and dance music have especially for some years prior to that. Black lation. In addition to newly arrived defined the sound of New Orleans, people in New Orleans not only at­ slaves, some blacks undoubtedly also contemporaneously as well as histori­ tended them, chances are that they pro­ migrated with the Loyalist element cally. A plurality of ethnic influences vided the music as well, though no fleeing the English colonies along the has blended in a pattern of shared tra­ documentation exists by which to eastern seaboard in the wake of the ditions forged within the context of prove it. As in other established urban British defeat. Open-air dancing, per­ common urban folk experience. centers of the old South, blacks mitted pragmatically, it would seem, Preeminent in this melange of ethnic routinely provided music for dancing as a measure of control, probably did influences, a seminally important chap­ in New Orleans, for themselves as well not necessitate the imposition of ter in black music history took shape as for wrote society. White people in statutory proscription until the slave in the Crescent City. Kmen (1966, viii) fact looked upon it as a demeaning oc­ population had increased as signifi­ states that nineteenth-century New Or­ cupation. Only when professional cantly as it did in the 1780s. Krnen leans gave residence to "the largest musicians otherwise occupied playing Negro population, both slave and free, concerts or in the theaters condes- Continued on page 2 2

New Orleans, continued This element would form the cians far outstripping the available backbone of a community of Creoles supply. That situation prompted the (1966, 226) indicates that with cer­ of Color in the city, critica l for the cul­ germination of band academies oper­ tainty such concern dates at least to tural inroads it pr0vided, especially ated by itinerant "professors," in 1786, given the passage in that year in terms of musical development. many cases drawn from the ranks of of a law which "forbade slaves to Open avenues of approach to theaters New Orleans's free blacks of antebel­ dance in public squares on sundays and ballrooms brought the Creoles in lum musical vintage. Some of these and holy days until the close of the contact, directly and indirectly, with schools actually existed outside the evening service ." the classical tradition of European city proper and served as conduits The above-mentioned law in fact re­ music. As a result of such exposure, through which musicians from the im­ stricted such activity to Sundays, and midway through the antebellum age mediate hinterland passed eventually in Place Congo only. The scenario that a Negro Philharmonic Society would to take up residence in New Orleans. ensued paralleled similar situations in emerge. Its emergence signified the The black band academy estab­ the West Indies. As in the Caribbean, rise of an exemplary cadre of schooled lished by Uptown New O rleans musical performance in the beginning musicians. In addition to concert ac­ bandmaster James B. Humphrey, in seems to have reflected the African tivity, they performed at the Renais­ Plaquemines Parish south of the city, folk roots of the people. As related by sance Theatre, the first of a number symbolized this cultural phenome­ architect Henry Latrobe during a visit of black musical theater establish­ non most expressively. The Eclipse to the citv in 1819, it "consisted of two ments that would grace the city's cul­ Brass Band founded by Humphrey at drums a"nd a stringed instrument" tural terrain over the years. In time a Magnolia Plantation counted among (Kmen 1966, 227). The people sang in veritable honor roll of internationally a host of ensembles that emerged in call and response format to their ac­ recognized musical figures would de­ this period as progenitors of the black companiment and did a ring dance to rive from their midst, including bands that formed in the twentieth the rhythms emitted. However, such illustrious names as Edmond century. It, along with the Excelsior others observed a more eclectic re­ Dede, Basile Bares, Lucien Lambert, Brass Band, the Eu reka Brass Band, tinue, with fifes and fiddles Eugene V. Macarty, and in the jazz the Onward Brass Band, the Deer documented as having appeared as period, Ferdinand Joseph LeMenth Range Band (also a product of Mag­ early as 1799. (Lamothe?), better known as Jelly Roll nolia Plantation), the Pelican Brass The Caribbean connection repre­ Morton. Band (witr which Humphrey also sents an especially vital linkage for Possibly the most important trans­ played and eventually led), the black musical development in New ference of European influence affect­ Pickwick Brass Band, the St. Joseph O rleans. By the second decade of the ing the heritage of black music in New Brass Band, and the original Olympia nin eteenth century, the arrival of a Orleans involved the cultivation of a Brass Band, helped make up this first substantial number of West Indians, band tradition. It served as the prim­ wave of black bands that sprung from both slave and free, had mushroomed ary seedbed for the development of a the city. They set an important prece­ the black population in the Crescent jazz idiom. Black band music fi rst dent and generated vital momentum City substantially. Situated as it is on began appearing in the early years of for numerous ensembles that fol­ the northern rim, New Orleans actu­ the nineteenth century in response to lowed. Later, Oscar "Papa" Celestin's ally counts as a Caribbean commun­ the city's need for martial music. Tuxedo Orchestra, the John Robi­ ity, and the transit of musicians back The influx of freedom subsequent chaux Orchestra, A. J. Peron's Society and forth has left a considerable i.rn­ to the war, and the eclipse of civil Orchestra, and the Claiborne William's pression upon the city's vernacular rights that constituted the disappoint­ Orchestra were among the city's musica l style. Both the jazz and ing denouncement of emancipation, "sweet jazz" ensembles that de­ rhythm and blues traditions endemic ironically created a situation fertile for scended from the Creole of Color to the city convey rhythmic elements black band development. Because of­ heritage. suggestive of West Indian influence. ficial America would not accept the The names listed above represent The arrival of a West Indian contin­ sociopolitical obligations of caring for the larger, well-established ensembles gent of blacks in the early nineteenth its newly emancipated citizens, freed­ of the city in the period of the city's century bolstered New Orleans's com­ men in New Orleans were left to do initial black band explosion. Their plement of free blacks in particular. so themselves through a network of membership consisted of trained Predicated upon the social advan­ social-aid and pleasure sodalities. musicians, often with lineage leading tages they enjoyed, this group These organizations customarily pro­ back to the philhannonic heritage of brought with them a wealth of educa­ vided music for the various activities the antebellum free blacks. Other tion and cultural richness which man­ they sponsored in accomodation of small combinations existed as well, ifested itself in much musical facility. their membership, e .g., parades, fu­ however, within the ne·ighborhoods. Like an analogous component of nerals, and dances. The band led by Charles "Buddy" Bol­ Afro-American society then already The on-rush of freedmen, and the den best exemplifies that category. present in New Orleans, they had proliferation of black social-aid and Understandably, with the di­ ready access to European musical pleasure organizations it generated, minished availability of musicians, training. dictated a need for black band musi- the neighborhood groups could not 3

effectively compete with the estab­ form for black dancers as well. We strelsy have much bearing upon the lished organizations for personnel know of other black fiddlers also, both rise of jazz in New Orleans. String and therefore had to play with some free and slave. Edmund Dede, the bands correlate with the latter influ­ parts missit,g, a factor that encour­ brilliant performer, composer, and ence, windbands with the former. aged them to take greater liberties in conductor, played violin. The instru­ However, prior to the advent of the their ensemble play in order to fill out ment appeared in Congo Square dur­ ragtime band, black piano artistry the sound. This led to the loose m,rn­ ing the early epoch, intimating its use shaped the development of ragtime. ner of play associated with early New bv slaves. Standardlv associated with the Mis­ Orleans jazz, misconstrued by many , Black musicians within New Or­ souri region, a vernarnlar style of observers from a retrospective van­ leans's street and saloon environment piano seems to have grown up in New tage point as collective improvisation. also played the banjo, likely an instru­ Orleans at approximately the same Accounts given as part of oral history ment of ethnic African derivation. A time historically. Playing a "bar­ interviews conducted by the Tulane Picayw1e Butler, for example, earned relhouse" style, these pianists, who Jazz Archive, however, indicate that a considerable reputation playing traversed a circuit of mining and these performers actually considered aboard the riverboats in and out of lumber camps, also found employ­ what they did as the playing of voiced the Crescent City. It served as a prece­ ment in the tenderloin establishments parts (Bocage 1959; Henry 1959; dent for successive generations of of the Crescent City. We cannot docu­ Ridgley 1959). black musicians who earned their ment their identity until the twentieth These smaller bands found the bis­ livelihood performing on riverboats. century when the names Jelly Roll tros (or "tonks") and dancehalls The practice extended into the jazz Morton, Tony Jackson, Alfred Wilson, spread throughout the neighbor­ period, when bands such as those led James White, Sammy Davis, Albert hoods as habitat more natural for their by Fate Marable on the Streckfus Carroll, and Buddy Carter emerge musical purposes. Whether playing steamboats employed numerous jazz from the late stages of ragtime de­ for a street procession or for dancers, musicians. velopment from which jazz arose. however, the music of New Orleans's By the late nineteenth and early The barrelhouse players anticipated black bands left a prevailing impres­ twentieth centuries this combination not only the development of ragtime sion upon the city. Afro-Americans had evolved into the instrumentation and its jazz progeny, but also the ap­ predominated within the city's under­ that comprised the hot string bands pearance of blues in New Orleans. We class community and accordingly that ushered in the jazz era, typified can document the presence of the exercised a prevailing influence over by the Woodland Band led by Edward blues at least by the immediate post­ the cultivation of an urban folk musi­ "Kid" Ory. It began as a "spasm World War I period when Armstrong cal culture. band," consisting of kids with talks of playing them for the girls Street and saloon music as a cultural homemade instruments. in the "tonks," most notably with his outgrowth of the New Orleans under­ Ory arrived in New Orleans with trio at the Brick House in Algiers class community provided the breed­ his Woodland Band around 1908. He (Armstrong 1954, 150-153). Arm­ ing ground for jazz and related ver­ began working Storyville establish­ strong, of course, particularly exem­ nacular musical idioms such as ments almost immediately, most no­ plified the street-and-saloon nexus of rhythm and blues. The city's black tably Pete Lala's 25 Club where he New Orleans's black musical heritage, musical heritage has had a central role would eventually make the acquain­ having grown up near South Rampart in that development. While black tance of Joseph "King" Oliver, Louis Street and spent much time in the bands represent an important compo­ Armstrong, Lorenzo 1io, Zue legendary area known as "the nent of the black musical contribution Robertson, and Henry Zeno. In that battlefield" (Perdid o Street and South to the city's urban folk cultural history, time, Tom Anderson., proprietor of the Rampart). other elements also played an impor­ Arlington House and unofficial mayor Blues opened the portals to a gener­ tant part. String bands and piano of the District, routinely employed ation of black female perforn,ers in players contributed to that ambience hot string bands comprised of black New Orleans as it did elsewhere in as well, forming yet another element musicians at his Annex. They also per­ urban America. Emerging in the Cres­ in the growth of jazz and in the blues formed frequently at Miss Cole's cent City were Ann Cook, Mamie fermentation. Lawn Parties on Josephine Street in Desdounes, Lizzie Miles, and Sweet String music of a vernacular nature the Uptown. These ensembles distin­ Emma Barrett, who finished her illus­ began making its appearance in the guished themselves by their folk ori­ trious career at Preservation Hall. streets and saloons of New Orleans gins and preoccupations as well as the Brass band and dance music consti­ early in the city's history. Solo perfor­ precocious caliber of their member­ tuted the secular dimension of New mers appeared first, it would seem, ship. Members commonly learned to Orleans's black vernacular musical with a black violinist named Massa play a variety of instruments, ulti­ heritage. The ci ty has also proven it­ Quamba gaining particular promi­ mately metamorphosizing into wind­ self a fertile ground for the growth of nence in the antebellum age. band combinations. the sacred sound. Kmen quotes Fre­ Documentation reveals him perform­ From the standpoint of folk antece­ derick Olmstead's description of one ing frequently for white clientele, but dants, the ragtime phenomenon and undoubtedly he found time to per- the foundations of blackface min- Co11fi11ued 011 page 4 4

New Orleans, continued in her footsteps. An alumnus of the sistent underclass existence thrust city's formative gospel activity of the upon them. Sunday morning's experience in the early twentieth century, Professor 1850s: "The congregation sang; I think J. W. Williams, now eighty-eight years Mr. Jerde is Curator of tile William Ran­ everyone joined, even the children, of age, remains active to the present som Hogan Jazz Archive, Tulane Univer­ and the collective sound was wonder­ day. Along with Dr. Edwin Hogan sity, New Orleans, Louisiana. ful. The voices of one or two women and Elliott Beal, who served as rose above the rest, and one of these Mahalia's hometown accompanist on soon began to introduce varia­ repeated occasions, Prof. Williams References tions ... . Many of the singers kept has proven a powerful influence for Armstrong, Louis. 1954!. Satchmo, my time with their feet, balancing them­ numerous gospel performers who life in New Orleans. New York: selves on each alternately and swing­ have followed-Wallace Davenport, Prentice-Hall. ing their bodies accordingly." As Frank Lastie, Harold Lewis, and Rev. Bocage, Peter. 1959. Oral history Kmen relates it, Olmstead describes Paul Morton to name but a few. interview. William Ransom Hogan how the preacher then "raised his For its heritage as America's "music Jazz Archive, Tulane University. own voice above all, clapped his city," New Orleans owes much to the Henry, Charles Sunny. 1959. Oral hands, and commenced to dance" black music tradition that impelled it. history interview. William Ransom (Kmen 1966, 236). The vernacular character of its music, Hogan Jazz Archive, Tulane In the twentieth century this spir­ like that which pervades national University. ited, evangelical legacy carried over musical development, emerged in Kmen, Henry A. 1966. Music in New into the gospel sound. Though her large part due to the black musical Orleans: Tire formative years, musical power would ultimately sur­ legacy imparted upon it. Like the na­ 1791 -1841. Baton Rouge: Louisiana face in Chicago where she made con­ tion as a whole, the saga surrounding State University Press. tact with Thomas Andrew Dorsey, that relationship bears the paradoxical Ridgley, William Bebe. 1959. Oral Mahalia Jackson grew up in New Or­ overtones of a peoiPle who have had history interview.William Ransom leans and began by singing in that to make their sound heard despite the Hogan Jazz Archive, Tulane city's black chUTches. Others followed anomalous distinction of having per- University. Composers Comer Six Composers of Nineteenth-Century New Orleans by Lucius R. Wyatt, Prairie View A & M University

The composers discussed in this music and the arts. They encouraged all persons of African descent in New essay belonged to a distinct social and their children to study music without Orleans-free blacks, former slaves, ethnic class in nineteenth-century the intention of pursuing it as a career. and Creoles-came together in ex­ New Orleans known variously as free Since they were people of reason­ pressing their vocal opposition to the persons of color, gens de coule11r libre, able financial means, they often sent legalized burdens imposed on them. and black Creoles. Aside from their their children away to the best schools It was against this social and political mutual concern for economic survi­ in the northeastern United States, background that several talented com­ val, the citizens of this group were France, and other E.uropean countries posers emerged. joined together by the French lan­ to be educated. Although they were The composers Basile Bares, Ed­ guage, their interest in French culture, given certain freedoms, they were not mond Dede, Lucien Lambert, Sidney and their membership in the Catholic accorded the same social, political, Lambert, Eugene V. Macarty, and Church. They attended performances and economic position as whites. Samuel Snaer were born and reared of the opera and of concert music and After the Civil War the implementa­ in New Orleans.' While the Lambert maintained a strong devotion to tion of oppressive Jim Crow laws brothers and Dede emigrated to other posed greater difficulties for them. For countries in search of a broader range instance, a famous law suit of 1869 of musical opportunities, Bares, The author and editors express their appreci· contested segregated seating in the St. Macarty, and Snaer remained in the ation to Lester Sullivan, Archivist, Amistad Re­ Charles Theatre, while prior to the city. Dede, a truly gifted musician search Center, Louisiana Music Colle,:tion; the Civil War seats in theaters were avail­ whose achievements were particu­ Archives and Manuscripts Department of the Earl K. Long Library of the Universit)' of New able to any citizen who could pur­ larly outstanding, was born of free pa· Orleans; Dominiq1Ue-Rene de Lerma; Daniel C. chase a ticket. Moreover, the rents who came to New Orleans from Meyer, Associate Curator for Print and Manus­ Louisiana legislature enacted a the French West Indies. The compos­ cript Materials, William lbnsom Hogan Jazz specific code that mandated that a per­ ers wrote works for concert perform- Archive, Tulane University; and Bernard Bar­ dct, music reference librarian of the Bib­ son with any amoun t of African blood 'Scholars and writers differ on the spelling liotheque Nationale, Paris, France, for their as­ was, according to law, a Negro. The of the composers' names, an.d their birth and sistance in the preparation of this article. effect of the new restrictions was that death dates (see Appendix). 5

ance as well as pieces for social occa­ sions, including salon music for the piano in the French musical tradition. In some instances they composed music for the church. Dede, an orchestra conductor in Bordeaux, France, wrote many works for the stage. As early as 1830 the Philharmonic Society, an orchestra directed by Con­ stantin Deburque and Richard Lam­ bert, performed public concerts. As the century progressed, despite the disadvantages of the Civil War and the subsequent problems of Recon­ struction, New Orleans remained a fertile environment for music. In studying the music of the period 1850-1900, it becomes clear that the dance forms of black Creoles, consist­ ing of waltzes, polkas, mazurkas, marches, and quadrilles, contained elements that were used in the forma­ tion of jazz.

Basile Bares (1845-1902) Basile Bares (Bazel' Bara') has been described by several writers as a popu­ lar musician who exuded sensibilities that were very Frencl1 in cl1aracter. At an early age he obtained employment with a Mr. Perrier who had a music business specializing in French music. On several occasions Perrier sent him to Paris in the interest of his business. On each of these trips abroad, Bares renewed his ilnterest and love for French culture. While working in Per­ enced by his contact w ith French Edmond Dede rier's music business, Bares became a music and his visits to Paris, Bares performer at the piano, a piano tuner, wrote waltzes, mazurkas, polkas, Co11rt,>sy, Amistad Resrord1 Ce11ter, Louisiaua Music Collcctio11. a teacher of music, and a composer. marches, galops, and quadrilles. Bares studied with Eugene Prevost, These are lighthearted pieces written ductor. His early training in music the music director of the Theatre D'Or­ in d iatonic harmony and in com­ was with Eugene Prevost, Richard leans. His studies in harmony and pound ternary form. Generally, the Lambert, Constantin Deburque, and composition were with a Professor pieces modulate to the key of the Ludovico Gabici, the director of the Pedigram. ln 1867 he visited the Paris dominant. Bares shows a special gift St. Charles Theatre orchestra. His Exposition and remained there for in the creation of melodies in his com­ father, the director of a militia band four months performing in recitals. positions. His melodies and har­ in New Orleans, recognized his spe­ Newspaper reports of the period in­ monies are particularly interesting in cial musical ability and sent him to dicate that Bar-es was often engaged such pieces as "Le Creole: Polka Mexico for further studies in 1848. as a pianist in performances in New mazurka," "La seduisante: Grand Subsequently, he traveled possibly to Orleans with Snaer, Macartv, and valse brilliant," anc! "Mamie Waltz." England, then to Belgium in search of Dede during his visits to the city. His a suitable place to pursue his musical "Le belle creole: Quadrille des lanciers interests. He even tu ally arrived in americains" is dedicated to Eugene V. Edmond Dede (1827-1903) Paris where he found a hospitable en­ Macarty. Edmond Dede's (Edmon' Day' day') vironment, and entered the Paris Con­ His musical works consist of dance acllievements in music are particu­ servatory of Music in 1857. Arthur La pieces for the piano in the European larly noteworthy. He was a gifted vio­ salon style of the period. Largely influ- linist, composer, and orchestral con- Co11ti1111ed on page 6 6

Composers Comer, co11ti11ued Among Lambert's compositions is "Au segregated seating policy. The suit clair de la lune," an interesting theme was the outgrowth of a heated con­ Brew, who has done extensive re­ and variations for piano that contains frontation between Macarty and the seard1 on Dede, believes that he is numerous arpeggiated lines. theater manager, who requested that possibly the first black American to he leave a section reserved for whites study at the Paris Conservatory and Sidney Lambert (b. c1838) at an opera performance. Macarty ac­ the first to compose an opera. Not much is known of the life of tually threatened the manager with Settling in Bordeaux, France, be­ Sidney Lambert, a brother of Lucien physica l violence if he proceeded to tween 1860 and 1862, Dede became Lambert. Writers refer to him as an remove him. According to Desdunes, the director of L'Alcazar Theater Or­ excellent pianist who served as a Macarty often spoke at meetings of chestra, a post he held for twenty-five musician in the court of the king of the Creoles during the early days of years. It is reported that he became a Portugal. He was honored by the king Reconstruction to advise them of their friend of Charles-Fran<;ois Gounod. for his piano teaching method. He civil rights. According to Desdunes, Dede wrote subsequently became a teacher of Several writers have reported that many orchestral compositions, the music in Paris where he li ved until his Macarty studied at the Paris Conser­ scores of which are presumably in death. The "Rescue polka-mazurka," vatory around 1840. He had been a cities in Europe. Dede returned to "Les clochettes: Fantaisie mazurka," piano student under a J. Norres. On New Orleans several times during the and an arrangement of F. A. Rente's one of his published editions of pol­ 1890s for "farewell concerts" which in­ "Stella, mon etoile: Celebre valse" are kas, Fleurs de sa/011 (1854), Macarty re­ volved friends, including Basile among the best compositions by Sid­ fers to himself as the "Pianist of the Bares, as perfo·rmers. ney Lambert. fashionable Soirees of New Orleans," Dede's orchestral work Le Palmier an indication that he frequently per­ ouverture is said to be one of his best Eugene Victor Macarty formed at such social .events, The two compositions. Two pieces for voice pieces in this collection, "La caprifolia and piano, "Si j'etais lui" and "Mon (1821-1881) polka de salon" and ''I:Alzea polka pauvre coeur," are illustrative of Of the six composers discussed mazurka," attest to Macarty's ability Dede's natural instinct for melody. "Si here, Eugene V. Macarty appears to as a composer and arranger. j'etais lui," written in A-Aat major, is have been the most versatile. He was set to a poem by Victor-Ernest Ril­ a singer, pianist, amateur actor, and lieux. "Mon pauvrecoeur," composed a comedian. He was also proficient as Samuel Snaer (c1832-c1880) in E minor, is particularly striking in an orator and writer of prose and Samuel Snaer (Sniay'), the organist its somber character. His "Chicago: verse. On the other hand, he was a for many years at St. Mary's Catholic Grand valse a ['americaine," a vigor­ successful businessman, who held Church on Chartres Street in New Or- ous and multi-sectional piece in C positions in the state government, minor, is representative of his mature and was a civil rights advocate. Eugene V. Macarty style. Macarty filed a suit against the St. Courtesy. Amistnd Rcscnrd1 0,11/~r, Lo11isin11n Charles Theatre in 1869 because of its Music Collection. Lucien Lambert (b. 1828) Lucien Lambert (L66chie'(n) Lam­ bar' or Lambert) was a son of Richard Lambert, the legendary music teacher who inspired many students in New Orleans. Lucien was an excellent pianist who performed in the Theatre D'Orleans. Desdunes has written of a small artistic rivalry existing be­ tween Louis Moreau Gottschalk and, presumably, Lucien Lambert. Al­ though Gottsclhalk was a better per­ former, Desdunes felt that Lambert surpassed him as a composer. Ap­ parently displeased over the racial dis­ crimination of his day, Lucien Lam­ bert went to Paris where he continued to study music. Later he went to Brazil to serve as the chief musician in the Court of Dorn Pedro. Remaining in Brazil, he eventually entered the piano manufacturing business. 7

leans, taught music and played sev­ tt Lescentgardes: Valse, Op. 22, piano. New Orleans: Louis eral musical instruments, including for piano. New Orleans: [Louis Grunewald, 1876. the violin and the violoncello. He has Grunewald), 1874. •t The Wedding: Heel and Toe been described as a modest man and t:j: La coquette: Grande polka de Pol.ka, Op. 26, arrangement for a brilliant pianist. He conducted many salon, for piano. New Orleans: piano. n.p.:J. Flanner, 1880. concerts involving choir and or­ A. Elie, 1866. chestra. t La course: Ga lop brillante, for The Music of Edmond Dede3 Snaer was noted for his incredible piano. New Orleans: Ables, ballet. n.p., n.d. memory. He would often perform A. E. Blackmar, 1866. L'Abile de la chouette: Feerie with amazing accuracy pieces that he " La Creole: Polka mazurka, for (dramatic piece). n.p., n.d. had not seen in years. On many piano. New Orleans: L'Anneau du diable: Ferrie occasions he would compose pieces, A. E. Blackmar, 1884. (dramatic piece) in three send them to his friends for inspec­ •t La Creole: Souvenir de la acts. n. p., 1880. tion, and never request the return of Louisiane, Marche, Op. 10, for L:Antropohage, operetta in one his manuscripts. Consequently, many piano. New Orleans: act. n. p., 1880. of his compositions have not been re­ A. E. Blackmar, 1869. Apres le miel, opera comique. covered. •tt Delphine: Grande valse brillante, n.p., 1880. He composed orchestral pieces, Op. 11, for piano. New Orleans: Arcadia ouverture, for orchestra. overtures, and many waltzes, polkas, Louis Grunewald, 1870. n.p., n.d. mazurkas, and quadrilles. Because of Elodia: Polka Mazurka, for piano. Une aventure de Telemaque, his experience as an organist and n.p.,n.d. opera. n.p., n.d. choirmaster, he had a special affinity Exhibition Waltz, for piano. New tt Bordeaux: Grand valse. for the voice a111d for harmony. Of his Orleans: L. Grunewald, 1870. n.p., n.d. pieces for voice and piano, "Rappelle­ •tt Les folies du carnaval: Grande Les Canotiers de Lorment, ballet­ toi" and "Le chant du deporte," are valse brillante, for piano. New divertissement. n. p., 1880. truly inventive in the treatment of Orleans: A. E. Blackmar, cl867. Caryatis, ballet-divertissement. melody and harmony. His "Chant Les fusees musicales (by 1865). n.p., n.d. bachique" and the Mass for Three tt Galopducarnaval, Op. 24, for Chant dramatique, for orchestra. Voices demonstrate the composer's piano. New Orleans: Louis n.p.,n.d. sensitivity to vocal writing. Although Grunewald, 1875. • Chicago: Grand valse a "Magdalena Valse" is a simple piece tt Grande polka des chasseurs, a l'americaine, for piano. Paris: E. in C major, it is a delightful composi­ pied de la Louisiane, for piano. Froment, 1892. tion that sustains the interest of the New Orleans: Basile/fol ti & Chik-King-Fo, operetta in one listener from beginning to end. Simon, 1860. act. n.p., 1878. t:j: La louisianaise: Valse brillante, Diana et Acteon, ballet- for piano. New Orleans: The Music of Basile Bares2 divertissement. n.p., n.d. A. E. Blackmar, 1884. Ellis, ballet. n.p., n.d. •t Basile'sGalop, Op. 9, for piano. The Magic Belles (by 1865). Emilie. n.p., n.d. New Orleans: A. E. Blackmar, •tt Mamie Waltz, Op. 27, for piano. Les etudiants bordelais, operetta 1869. New Orleans: Junius Hart, 1880. in one act. n.p., 1883. •t La belle Creole: Quadrille des Mardi Gras Reminiscences: Les faux mandarins, ballet. lanciers americains, for piano. Waltz, for piano. n.p., n.d. n.p.,n.d. New Orleans: A. Elie, 1866. tt Merry Fifty Lancers, Op. 21, for Le grillon du foyer, operetta. •tt La capricieuse: Valse, Op. 7, for piano. New Orleans: Philip n.p., n.d. piano. New Orleans: Werlein, 1873. Mephisto masque: Polka A. E. Blackmar, 1869. Reprinted Minuit: Polka de salon, for piano. fantastique. n.p., n.d. in Music and Some Highly Musical n.p., n.d. t Mon pauvre coeur, for voice. People, James M. Trotter, pp. •t+ Minuit: Valse de salon, Op. 19, n.p., 1852. [Appendix] 60-68. New York for piano. New Orleans: Henry Nehana, reine des fees, ballet in Johnson. Reprint Corp., 1968. Wehrmann, 1873. one act. n. p., 1862. 'The locations where these compositions are •tt Regina: Valse, Op. 29, for piano. Le Noye, opera comique. held are indicated as follows. New Orleans: Louis Grunewald, n.p.,n.d. 1881. • Held by the Center for Black Music Re­ Les nymphs etchasseurs, ballet search, in photocopy format •tt La seduisante: Grande valse in one act. n.p., 1880. t Held, most in, photocopy format, by the brillante, for piano. Amistad Research Center, New Orleans, n.p., c1867. 'Arthur La Brew reports that Dede's oeu,ire,: Louisiana •t Les varietes du carnaval, Op. 23, include forty-five songs, numerous dances, fan­ i Held by the Tulane University Library, tasies, six quartets for string instruments, and New Orleans, Louisiana for piano. New Orleans: Louis other works. § Held by the Biblioth~que Nationale, Paris, Grunewald, 1875. France t Les violettes: Va lse, Op. 25, for Continued 011 page 8 8

Composers Comer, co11tinued Paris: Colombier, 1861. Paris, t Chant bachique, for male choir. Yienne. Manuscript. Le Palmier ouverture, for Pluie de Corails. n.p., n.d. Le chant des canotiers. n. p., n.d. orchestra. n.p., n.d. § La rose et le Bengali: Inspiration, •t Le chant du deporte, for voice. Papillon bleu: Grand valse. Op. 4, for piano. Paris: New Orleans: Louis Grunewald, n.p., n.d. L. Escudier, 1854. 1865. Paris: Grand valse. n.p., n.d. Dormez, mescheresamours. Patriotisme, ballad. n.p., n.d. n.p.,n.d. La phoceenne; Grand valse. The Music of Sidney Lambert Grand scene lyrique. n. p., n.d. n.p., n.d. § L'Africaine, Op. 14, transcription Graziella Overture, for orchestra. Quadrille. n.p., n.d. for piano. Paris: Brondus, 1872. n.p.,n.d. Spahis et G-risettes, ballet­ § Anna Bolena, de Donizetti: Petit t Magdalena: Valse, for piano. divertissement in one act. fantaisie, for piano. Paris: M. Manuscript. n.p., 1880. Colombier, 1872. Mass for Three Voices. "Gloria" La sensitive, ballet in two acts. § LesClochettes: Fantaisie and "Agnus Dei" reprinted in n.p., 1877. mazurka, Op. 9. Paris: Alphonse Music and Some Highly Musical Si j'etais lui, for voice. n.p., n.d. Leduc, 1872. Reprinted in Music People, James M. Trotter, pp. Sultan d'lspahan, opera in four a11d Some Higlzly Musical People, [Appendix] 127-152. New York: acts. n. p., n.d. James M. Trotter, pp. [Appendix] Johnson Reprint Corp., 1968. •t "Lesermentdel'Arabe,"a 86-95. New York: Johnson +t Ra ppelle-toi, for voice. New dramatic aria from Sultan _ReprintCorp., 1968. Orleans: Louis Grunewald, 1865. d'lspahan. Reprinted in Music § L'Elisire d'amore, opera de •tt Sous sa fenetre, for voice. New and So111e Highly Musical People, Donizetti: Petite fantaisie, for Orleans: Lou is Grunewald, 1866. JamesM. Trotter, pp. [Appendix] piano. Paris: M. Colombier, 1870. Le vampire. n.p., n.d. 53-59. NewYork:Johnson § __: Fantaisie, Op. 8, for Reprint Corp., 1968. piano. Paris: A. Leduc, 1872. Sylvia, overture. n. p., n.d. § Murmunes du soir: Caprice, References Symphony ("Quasimodo," by Op. 18, for piano. Paris: Blassingame, John W. 1973. Black New 1865). J. Hielard, 1876. Orleans: 1860-1880. Chicago: The Le triomphe de Bacchus, ballet· • Rescue Polka Mazurka, for piano. University of Chicago Press. d ivertissement. n.p., 1880. Providence, R. I. : Cory Brothers, Desdunes, Rodolphe L. 1973. Our Yaillant belle rose quadrille. 1869. people and our Iris/on;. Translated by n.p., n.d. § Si j'etais roi, d'A. S. Adam: Sister Dorothea O lga McCants. Reverie, for piano. Paris: Baton Rouge: Louisiana State Uni­ The Music of Lucien Lambert A. Leduc, 1868. versity Press. § La Sonnambule (Petite fantaisie Edmond Dede. n.d. L'artiste L'americaine. n.p., n.d. sur la), Op. 10, for piano. Paris: (Bordeaux, France), troisieme •tt Au clairde la lune, Op. 30. Paris: A. Leduc, 1872. annee, 2me serie, numero 30 (after Em ile Gallet, n.d. Reprinted in t Stella mon etoile: Celebre valse. 1880). M11sica11d Some Highly Musical Arrangement of the melody of Hare, Maud Cuney. [1936] 1974. Negro People, JamesM. Trotter, pp. the same name composed by musicia11s nnd their music. New York: fAppendix ] 69-80. New York; F. A. Rente. New Orleans: Ph ilip Da Capo Press. Johnson Reprint Corp., 1968. Werlein, 1879. La Brew, Arthur R. 1984. Edmond Ah, vous disais-je maman, § Transport joyeux: Ya lse de salon, Dede (dit Charentos), 1827-1901. piano transcription. n. p., n.d. Op. 16, for piano. Paris. Afro-American Music Review, 1, no. § Bresi liana: Fantaisie caprice J. Hietard, 1874. 2:69-83. brillant, for piano. Paris §--·Paris:). Hielard, 1875. Rousseve, Charles 8. 1937. Tlie Negro Heinz, 1869. i11 Louisiana: Aspects of//is history and t§ Cloches et clochettes: Etude Iris literature. New Orleans: Xavier mazurka brillante, Op. 31, for The Music of Eugene V Macarty University Press. piano. Paris: Colombier, 1859. •+t Fle11rsdesa/011: 2 Favorite Polkas Southern, Ei leen. 1982. Biographical § Le depart du conscrit: Fantaisie­ ("L'A lzea: Polka mazurka" and dictionary of Afro-American and marche, Op. 32, for piano. Paris: "La Caprifolia: Polka de salon"), Africa1111111sicia11s. Westport, Conn.: Colombier, 1859. arrangement for piano. New Greenwood Press. Etude-mazurka. n.p., n.d. Orleans: n.p., 1854. Southern, Eileen. 1983. Tire music of La flamen ca, opera in four acts. black America11s. 2nd ed. New York: Paris: Choudens, 1903. W. W. Norton. La juive. n.p., n.d. The Music of Samuel Snaer Trotter, James M. [1878) 1968. Music Le niagara. n. p., n.d. Allegro. n.p., n.d. a11d some highly musical people. The t § Ombres aimees; Reve, for piano. Le bohemien (by 1877). Basic Afro-American Reprint Lib- 9

rary. New York: Johnson Reprint 2. Date of Birth Mazurka") Corporation. 1827 (L'artiste; Rousseve 1937; Sydney (Score of "Stella mon La Brew 1984; Southern 1982) etoile") 1829 (Desdunes 1973; Trotter Appendix 1968; Hare 1974) Eugene Victor Macarty A11 011tli11e of Items That Differ 3. Date of Death 1. Spelling of last name i11 the Literature 1901 (La Brew 1984) Macarty (Trotter 1968; Hare 1974; 1903 (Desdunes 1973; Hare 1974; Southern 1983; D-esdunes Basile Bares Southern 1982) 1973; La Brew 1984) 1. Spelling of last name 4. Spelling of teacher's name Macarthy (Blassingame 1973; Barres (Desdunes 1973) Constantin Deburque score to Fleurs de salon and Bares (All published music (Desdunes 1973; Trotter 1968; Bares's "La belle Creole") scores) Hare 1974; Southern 1982) McCarty (Southern 1982) 2. Complete name Constantin Deb-erque 2. Full name Sometimes listed as Bazile (La Brew 1984) Victor Eugene Maca rthy Perrier (Blassingame 1973) Lucien Lambert 3. Ma tricu la tion at the Paris Edmond Dede 1. Sometimes listed as Charles Conservatory of MUJsic l. Spelling of first name Lucien Lambert (La Brew 1984) questioned (La Brew 1984) Edmond (Desdunes 1973; Rousseve 1937; La Brew 1984; Sidney Lambert Samuel Snaer L'nrtiste; published music; 1. Spelling of first name 1. Date of birth Southern 1982) Sidney (Trotter 1968; Hare 1974; ca. 1832 (Southern 1982) Edmund (Trotter 1968; Hare Desdunes 1973; Southern 1834 (Trotter 1968; Hare 1974) 1974) 1982; score of "Rescue Polka 1835 (Desdunes 1973) Black Music Collections in New Orleans by Deborrn Ridtnrdso11 , Haward University

Since the Center's 1987 National Con­ p.111. , Monday through Thursday; 8:30 thousand discs of original jazz record­ ference on Black Music Research will a.111. until 5:00 ,,.111., Friday and Satur­ ings. The materials in the jazz archive be held in historic and picturesque New day; and 1:00 p.111. until 10:00 p.111., Sun­ are non-circulating. Hours are from Orleans, this colunm wiU focus on day. Address: 7001 Freret Street, New 8:3011.111. to5:00 p.m., Monday through black-music-related research resources Orleans, LA 70118. TeUephone: 504/865- Friday, and 10:00 a.111. untiJ 12:00 noon at four selected New Orleans academic 5605. on Saturdays. Telephone: 504/865-5688. institutions: Tulane University, the William Ransom Hogan Jazz Archive The Latin American Library Amistad Research Center, the Louisiana State Museum, and the New Located on the fourth floor of the The Latit1 American Library's collec­ Orleans Public Library. Howard-Tilton Memorial Library is the tion consists of approXllllately 150,000 Will.iam Ransom Hogan Jazz Arch.ive. books and serials, more than 3,000 The Tulane University Libraries A remarkable collection of jazz ma­ maps, and over 12,000 photographs, terials noted for its strength in early The library's holdings are concentrated Howard-Tuton Memorial Library New Orleans jazz, it contaiils over on the subjects of Mexico, the Carib­ The facilities of the Tulane University thirty thousand discs, eight hundred bean, and Central America_ Pre-Colum­ Libraries that are of most interest to tapes, and several cylinders. There are bian art, Guatemalan culture, and Peru­ black-music scholars are those located also approximately fifteen hundred vian arclutecture are among the areas it1 the Howard-Tuton Memorial Library. reels of taped oral his tory iilterviews, represented in the graphic collection. This library's general collections are ar­ over seven thousand photographs, Thls library features open stacks and is ranged according to subject area and sheet music of the !)"-Opular tradition, located on the fourth floor along with housed iil open stacks. Circulation and vertical file materials that include other special collections, such as the privileges are granted to Tulane Un.iver­ memorabilia, ephemera, government Will.iam Ransom Hogan Jazz Archive. sity faculty, staff, and students only, documents, and more. ln addition, the Hours are from 8:00 11.111. until 10:00 although some exceptions to this rule archive boasts special holdiilgs donated p.111., Monday through Thursday; 8:00 may be made. The human.ities collec­ by jazz personalities, collectors, and 11.111. until 5:00 p.m., Friday; 10:00 a.111. tion, located on the second floor, con­ historians. Of these latter holdings, the to 5:00 p.m., Saturday; and 1:00 p.111. tains resources in art, architecture, Al Rose Collection might be considered through 10:00 p.m., Sunday. Telephone: dance, theater, conm1u1ucations, litera­ special, contaiil.ing as it does fifteen 504/865-5681. ture, philosophy, language, and relig­ thousand pieces of unpublished print ion. Hours are from 8:30 a. 111. until 10:00 and manuscript music and two Continued on page 10 10

Black Music Collections, co11ti1111ed and summer sessions. 300 35 mm films; 12,000 photographs; 1,000 posters; 2,500 pieces of sheet The Louisiana Collection The Amistad Research Center music; a vertical file that includes over one thousand musicians; and other The Louisiana Collection, housed on The Amistad Research Center re­ ephemera. There are also special collec­ the second floor of the Howard-Tilton cently relocated to Tilton Hall at Tulane tions that have been donated to the Memorial Library, is open from 8:30 University. Formerly of Fisk University Museum. These include collections re­ 11.111. until 10:00 p.111., Monday through and Di llard University, it was located lated to personalities-such as Louis Thursday, 8:3011.111. to 5:00 p.m., Friday at the Old U.S. Mint in New Orleans. Armstrong-and geographical loca­ and Saturday, and 1:00 to 10:00 p.m. Considered to be the largest research tions-sud, as Storyville and South p.m. on Sunday. With resources relating center in the southern United States for Rampart and Perdido Streets. FinalJy, to all eras and aspects of Louisiana his­ the documentation of black history and there is a small library that contains tory and culture, it contains approxi­ culture, its collection of original 1m1te­ approximately 500 books and some 100 mately thirty thousand books, as well rials includes over 2,500 square feet of short-run periodicals. Presently, hours as maps, photographs, illustrations, manuscripts and historical doci1ments. of operation are from 10:00 n.111. to 4:30 newspapers, vertical file materials, and Letters, reports, diaries, photographs, p.111. on Thursday and Friday. Please sheet music. The sheet music collection journals, and minutes of meetings that check with the Museum for its current consists of voca l and instrumental com­ date from the late eighteenth century operating sdiedule before visiting. positions published in the state or writ­ to the present can be found in the Write: Don Marquis, Curator, New Or­ ten by Louisiana composers between Center's collections. Eighty-five per leans Jazz Collection, Old U.S. Mint, 1830and 1920. The materials are located cent of these holdings concern race re­ 400 Esplanade Avenue, New Orleans, in closed stacks. Photocopying services lations in the United States. Music re­ LA 70116. are available. Telephone: 504/865-5643. sources include a variety of materials Maxwell Music Library in the popular, jazz, and classical idioms. Among the personal papers The New Orleans Public Library Maxwell Music Library is named housed at the Amistad are those of The New Orleans Public Librarv's after the first chairperson of the Tulane Fletdier Henderson, Carol Brice, and main branch is located at 219 Lovola University Music Department and is lo­ the Dobbs Family. The Amistad's most Avenue. The system, which consists of cated on the first floor of the Howard­ recent music acquisition is the Howard ten brandies, contains 900,000 volumes Tuton Memorial Library. Supporting Swanson collection. Measuring about of books, periodicals and audio-visual the programs in music and interdiscip­ U.4 linear feet, the papers include cor­ materials. The music collections are lo­ linary research in the humanities, the respondence, financial records, prog· cated in the Periodicals, Art and Recre­ library contains over 30,000 volumes of rams, press clippings, tape record ings, ation Division. Most of the system's music and scores, more than 10,000 and music manuscripts. The Amistad music sources are scores and record­ disc recordings, approximately 160 Researdi Center at Tulane University is ings. There are materials on black his­ scholarly journals, and large numbers located at Tilton Hall, 6823 St. Charles tory throughout the collection. Hours of audio tapes, videotapes, and mic­ Avenue, New Orleans, LA 70118. of operation are 10:00 n.111. to 6:00 p.111., rofilm documents. The stacks are open Please check with the Center for its Monday through Thmsday, subject to and include resources for the study of operating schedule. Telephone: 504/ change. Telephone 504/596-2550. music history, music theory, biography, 865-5535. bibliography, and performance, with emphasis on vocal and piano literature. The Louisiana State Museum This small sample of New Orleans Hours are from 8:0011.111. to 10:00 p.111., libraries and archives makes it evident Monday through Thursday; 8:00 n.111. New Orleans Jazz Club Collection that the ci ty has mud, to offer black­ to 5:00 ,,.111., Friday; 10:00 n.111. to 5:00 The New Orleans Jazz Club Collec­ music scl1olars. Other collections that p.m., Saturday; and 12:00 noon to 10:00 tion of the Louisiana State Museum is might be useful, but whid, were not p.111. on Sunday. Telephone: 504/865- another warehouse of information. It described here because of space consid­ 5642. consists of a pennanent exhibit, approx­ erations, include the Historic New Or­ Library hours for alJ collections in the imately 10,000 disc recordings in 78 leans Collection at 533 Royal Street and Howard-Tilton Memotial Library are rpm, 45 rpm, and 33½ rpm formats; the library collections at the other area subject to d1ange during intersessions 7,000 7½ reel-to-reel tape recordings; universities. On Ragtime by Edward A. Berlin, Q11ee11sboro11gh Co1111111111ity College

"In Europe the Uni ted States is popu· music." So wrote James Weldon primitive effort at music-making by ig­ larly known better by rag-time than by Johnson in 1912. What had shortly be­ norant blacks, a temporary aberration anything else it has produced in a gen­ fore been viewed as a musical joke from of public tastes, had-in little more eration. In Palis they call it American the minstrel and vaudeville stages, a than a decade-become the most d is- 11

tinguished art from the United States. pipeline: a Scoff Joplin Handbook and a newsletter, The Classic Rngtimer, which, There was considerable opposition to critical edition of the music of James in its first two issues, is a double-sided this new idiom, much of it due to the Scott. Several other projects are also legal-sized sheet. For information write recognition of ragtime's black origins. under c0nsideration. to Rose M. Nolet,, Editor, The Classic Despite this opposition, ragtime was Rngtimer, P.O. Box 125, Sedalia, MO embraced by the American public and Sedalia, Missouri was where Scott 65301. absorbed into its popular music, setting Joplin lived when he composed the that music on a new direction. Even in most famous of aU rags, the Maple Leaf today's rock, after an evolution of some Rag (1899), which gained for him the seventy years of d1anging popular title "The King of Ragtime Writers." In styles, the basic rhythmic gestures of more recent years the citizens of Sedalia ragtime are still -detectable. have celebrated Jopli11's memory vvith Thanks to some totally unanticipated an annual ragtime festival. Last year's events in the early 1970s, ragtime is festival, in early June of 1986, was an once again before us. It has been re­ extraordinary musical event. It featured vived as a perfom1er's art and enfran­ such renowned jazz artists as Dick chised as a legitimate area of scholarly Hyman and Jay McShann and was sup­ pursuit. It is therefore fitting and ap­ ported by a host of musicians who, propriate that the BMR Newsletter though lesser known, ranged in quality should review the current activities in­ from good to dazzling. Another festival volving this dynam.ic and seminal is planned for 1987. At this writing, in music. This column will consider rag­ November 1986, planning is stiU in its time broadly, will report on the ac­ early stages, but the schedule so far is tivities of researchers, perfom1ers, and for a four-day festival beginning on composers, and will discuss issues as TI1ursday, June 4. The events will in­ they relate to the mandate of this news­ clude a ragtime ball (with instructor), letter. We welcome responses, provoca­ at least two formal concerts, a ragtime A Joplin project of major proportions tive thoughts, news, and other con­ piano-playing contest, an ice cream so­ has been started in St. Louis under the tributions. cial, and-as always-"after hours" auspices of the Missouri Department sessions that conti.Ime until whenever. of Natural Resources. It is to encompass " . . For information contact the Scott Joplin half of a city block and have as its cen­ Commemorative Committee, P.O. Box terpiece one of Joplins residences at The long-awaited New Graue Dictio11- 1117, Sedalia, MO 65301. 2658 Delmar Boulevard (formerly Mor­ ar1J of A111cric1111 Music was issued in Oc­ One block west of the Maple Leaf gan Town Road). This site has been a to'ber 1986, and it deals generously with Club's location in Sedalia, there is a 20' National Historic Landmark since 1976, ragtime. There are about fifty articles x 100' strip of land that has just been but bureaucracies dance a slow drag. on ragtime topics, at least twenty-two donated to the Scott Joplin Com­ Restoration is now finally, .and fully, un­ of which reflect upon the black ragtime memorative Committee by Harold and derway, and the site is expected to open world. These articles are: "Ragtime," Anna Walker of Pasadena, Texas. The to the public in 1988. The plan is to "Scott Joplin," Louis Chauvin," "James Committ-:!e welcomes suggestions on return the build ing, erected in the Scott," "Artie Matthews," "Tom Tur­ how the land can be best used to honor 1860s, to its appearance of 1901, when pin," "Eubie Blake," "Willie 'The Lion' JopLin. the composer lived there. Joplin's six­ Smith," "James P. Johnson," "Luckey Among the citizens of Sedalia, one room apartment will be fu nushed with Roberts," "'Jelly Roll' Morton," "Wil­ finds several who have developed seri­ period pieces and illuminated with gas liam H. Tyers," "Joe Jordan," "Eudav ous interest in Joplin and some who lights. In other parts of the building L. Bowman," "James Reese Europe;" have done significant work. One res­ there will be performance areas, exhibit "Popular Music," and ragtime-jazz sec­ ident intent upon preserving Sedalia's gaUeries (an exhibit already planned is tions to seven1l entries on cities black heritage as it relates to Scott Joplin on Joplin's St. Louis associates Tom Tur­ (Chicago, Cincinnati, Indianapolis, and hls associates is Rose Nolen. A pin, Louis Chauvin, and Arthur Mar­ New Orleans, New York, and St. former president of the Scott Joplin shall), and a visitors' center for informa­ Louis). Entries 001 major figures in black Committee, Ms. Nolan is a tireless re­ tion and book and record sales. Out­ theater of the period, an area that fre­ searcher, a friend and interviewer of side, several other buildings that have quently overlaps with ragtime, include SedaUa's oldest black residents, a fre­ survived the demolition crews will be those on Bob Cole, J. Rosamond quent contributor of newspaper articles redeveloped to provide a period Johnson, James Weldon Johnson, Will on Joplin, and author of two booklets: streetscape. Plans include eating areas Marion Cook, Paul La urence Dunbar, one on Scott Joplin (twenty pages), the and a saloon with a piano. For further Bert Williams, and Ernest Hogan. other on the George R. Smith College information contact Annette Prott, Ad­ The Sm.ithson.ian Institution Press, as (twenty-six pages), the Sedalia institu­ ministrator, Scott Joplin Historic Site, part of a series on American compos­ tion where Joplin studied music in the 2754 Bacon Street, St. Louis, MO 63106. ers, has two ragtime projects in the 1890s. Ms. Nolen has also started a Telephone: 314/533-1003. 12

Researching Black Music in New Orleans A National Conference on Black Music Research Shemto11 New Orlea11s Hotel, New Orleans, l..o11isia11a Octol,er 15-17, 1987

The 1987 National Conference on Participants for the Traditional Arts and the NEA Black Music Research will provide a Folk Arts Program, 1986). forum for discussion about research Barry Jean Ancelet, presenter, Di­ Portia Maultsby, respondent, tools, methodologies, and resources for rector, Folklore Program, University Chairperson, Department of Afro­ the study and investigation of the of Southwestern Louisiana; speci.ilist American Studies, and Associate Pro­ music indigenous and particular to in Cajun and Creole music and fessor of Ethnomusicology at Indiana New Orleans and its immediate area. folklore; author of Tiu• Making of Cajun University; author of the monograph Tools for and methods of investigating Music (University of Texas Press, "Black American Popular Song: jazz, Creole, gospel, rhythm and blues, 1984). Rhythm and Blues, 1945-55" (Program and qdeco musics, and compositions Calvert Bean, Jr. , respondent, pro­ in Black American Culture-Museum by late nineteenth century blacJ... com­ gram director for classical music, of American Historv, Smithsonian In­ posers will be explored, and matters WPLN-FM radio; associate editor of stitution, 1986), articles on soul and pertaining to the research of musica l Blnck M11sic Resenrc/1 Jo11rnnl; author of contemporary popular music in the connections between New Orleans and "Retrospective: The Black Composers /011mal of Popular C11lt11re and Billbonrd, Chicago, lllinoi!., will be discussed. Series," Black Music Rt-,;earch Newslet­ and a forthcoming book tentatively ti­ Black musicians were active in con­ ter, 4, no. 3 (1981). tled Popular Music of Blnck Amaica. cert music from the early nineteenth Jason Berry, respondent, author of Mark McKnight, presenter, As­ century; jazz, blues, and ragtime began articles about jazz, popular music, sociate Professor, Loyola University to develop there as early as the 1890l. and culture, indud ing Amn:i11g Groce: Library; author of papers presented with the rise of Buddy Bolden; Creoles Witl1 Chnrh•s Evers in Mississippi (Three at Music Library Association and Son­ of color have made their own music for Continents, 1973) and Up from //,e Cra­ neck Society meetings, including a decades; Afro-Americans who lived in dle of Jnzz: N,w Orlea11s Music Since presentation on a performer of urban the rural areas in the vicinity of New 'Mlrld War II (University of Georgia, .tydeco music: "My Search for Rockin' Orleans performed and still perform a 1986). Dopsee: Problems in Cataloging Local hybrid music; at sometime before the Florence Borders, presenter, Direc­ Popular Sound Recordings"; guest 1920s a recog,nizable black religious tor, Chircory Society of Afro­ editor, "Music Collections in music began to develop; and a style of Louisiana History and Culture; Refer­ Louisiana Libraries," Louisiana Library rock and roll matured there in the ence Archivist, Amistad Research Bulletin (forthcoming, summer 1988). 1950s. What relationships existed be­ Center, New Orleans, Louisiana; Kenyon Rosenberg, respondent, tween the various black music genres? specialist in Creole music and dance. Associate Director for Bibliographic Does a single black music tradition e:-.ist Horace Boyer, presenter, Curator, and Document Services, National in New Orleans with particular relation­ Division of Musical In struments, The Technical Information Service, United ships between the genres and with Smithsonian Institution; authority on States Department of Commerce, common performance practices? What Afro-American gospel music and au­ Washington, D.C.; former Associate were the cultural and social differences thor of significant articles on the sub­ Director, Kent State University Li­ among the musics and the musicians ject in The Black Perspectit•e i11 Music, braries. who performed them? How does one Black World, and other scholarly jour­ Austin Sonnier, Jr., respondent, go about researching the various tradi­ nals. professional artist, musician, poet, tions with the purpose of answering Lawrence Gushee, presenter, Pro­ and lecturer on black musics in questions such as those presented fessor of Music at the University of Louisiana; has published many works here? What are the tools for identifying, Ill inois; author of articles on Jelly Roll including Willie Genry "Bimk" Joh11s011: locating, and obtaining the printed and Morton and Lester Young, notes for The New Iberia Years (Crescendo, 1977) recorded music of all genres? What are recordings of King Oliver, Freddie and articles on zydeco, blues, jazz, the tools, methodologies, and re­ Keppard, and Duke Ellington, and and Creole music in Louisiana. sources for developing bibliographies books and articles on various aspects Lester Sullivan, presenter, Ar­ and discographies of the music? The of Medieval music. chivist of the Amistad Research conference has been pl,mned to ad­ Joyce Jackson, respondent, doctoral Center, New Orleans, Louisiana; au­ dress such questions as these. candidate in Folklore-Ethnomusicol­ thor of articles on church history, Eight topics will be explored, each ogy at Indiana University; author of Afro-American genealogy, and paint­ paper focusing on the particular tools, articles on black sacred music in er Jacob Lawrence; and the host of the methods, and resources for researching Discourse i11 Etl1110111usicology II: "Twentieth-Century Classical Show" its subject. The abstracts that follow in­ A Tribute lo Ala11 P. Merriam (Indiana on radio station WTUL-FM in New Or­ dica te some of the matters that wi ll be University Ethnomusicology Publica­ leans. given consideration in each of the pre­ tions Group, 1981) and Snt11rday Night Richard Wang, presenter, Professor sentations. and Sunday Momi11g (National Council of Music at the University of IUinois- 13

Chicago; President of the Jazz Insti­ use both as mournful music, played view some sources that have proved tute of Chicago; author of "Jazz Circa by marching bands on the way to the useful in expanding or correcting the 1945: A Confluence of Styles," Musical grave, and as lively, swinging music historical record, with instances of the Q11arterly, 59, no. 4 (October 1973), on the return from the grave. The lat­ kind of information to be gained from 531-546. ter was taken up and developed in a them and a few caveats regarding Ron Welburn, respondent, former different direction by the holiness their use. Distinctions will be made coordinator of the NEA's Jazz Oral churches that were introduced into between their use in confirming infor­ History Project at the Institute of Jazz New Orleans between 1900 and 1910. mation gleaned from interviews and Studies, Rutgers University, and This was the music that first inspired their power to open new windows former editor o£TlteGrackle: Improvised gospel singer Mahalia Jackson. The on the past. The sources to be discus­ M11sic i11 Transition; author of "Toward music of the street meetings of holi­ sed include: photographic evidence Theory and Method with the Jazz ness congregations and traveling (snapshots, studio portraits, publicity Oral History Project," Black Music Re­ evangelists had a strong impact on the photos, and newsreels), newspapers search Journal (1986). musical preferences of the inhabi­ and periodicals (local New Orleans tants, moving their interests away papers, national theatrical press, gen­ Abstracts from the music of the Catholic church. eral periodicals), ephemeral advertis­ By the 1950s New Orleans was a ing (handbills, business cards, etc.), "Tracking the Tradition: New Orleans major gospel music city, though vital statistics, burial records, census Sacred Music" it never became a gospel music ce11ter, information, military records, police Horace Boyer producing such gospel singers as Bes­ and court records, licenses, published Until recently the missing link in sie Griffin (b. 1927), Linda Hopkins and unpublished music, copyright re­ the history of black music in New Or­ ("Baby Helen," b. 1925), and the cords, contracts, artifacts, letters, leans was its quiet but significant re­ queen of gospel, Mahalia Jackson diaries, and address books. ligious music tradition. Yet, Afro­ (1911-1972). None of these gospel American religious music has held a music figures gained fame in their "Tools and Methods for Researching strong position in black New Orleans home town, partially because New the Chicago Migration" since the 1880s, influencing all black Orleans had not ye t become a gospel Richard Wang music in that city from the brass bands music center. For the first time in its When researching the New Or­ of the nineteenth century to zydeco history, New Orleans is attempting to leans-Chicago connection, the re­ music of the late twentieth century. establish itself as a gospel music searcher of jazz music must confront The failure of the black religious music center through the diligent work of two sacred legends that bar entry to of New Orleans to establish a reputa­ the New Orleans Humming Four and the temple of responsible scholarship. tion and tradition, despite its influ­ the Soprano Spiritual Singers, both of First, there is the legend that it was ence, presents a paradox not easily whom follow the quartet tradition es­ the closing of fabled Storyville (New untangled. tablished by male quartets of Alabama Orleans's "red-light district") by the Black American religious music, or and Virginia in the early 1920s. Navy Department in 1917 that caused the Africanization of white religious There is, however, information on a major exodus of musicians from the music, made its appearance in New the quiet and somewhat obscure Afro­ city; second, that this great migration Orleans as early as the 1880s. It was American religious music tradition in was solely directed north along the during this time that the trend toward New Orleans, though a circuitous Mississippi River toward Chicago. In extemporaneous performances by route is the only path to its discovery. fact, the migration of well-known brass bands was established. Some of This presentation will be concerned New Orleans jazzmen began as early the music played and improvised with the few history books, novels, as 1904-1905 and continued until after upon-principally through embellish­ biographies, newspapers, religious the closing of Storyville. Furthermore, ment-were Negro spirituals and denominational histories and min­ the economic impact of Storyville's white Protestant hymns. At the same utes, and personal ilnterviews, tools, closing upon musicians has been time a group of black Catholics were and methodologies for researching greatly exaggerated; they continued composing and performing religious gospel music in New Orleans. to find steady employment in New music, and though their influence Orleans after 1917. Although the was small, they ultimately came to "Typology of Sources for the History exodus eventually included a signifi­ play a significant part in the city's of New Orleans Jazz" cant number of New Orleans's most music history. These included Samuel Lllwrence Gushee important musicians, many stayed be­ Snaer (c1832-cl880), Edmond Dede The two principal sources for writ­ hind and found work. Likewise, ac­ (1827-1903), and Basile Bares (1845- ing the history of New Orleans jazz cording to the legend, jazz came up 1902). This group was augmented by have been interviews and recordings. the Mississippi River to Chicago from William J. Nickerson (1865-1928) in the There are a great many other sources New Orleans. That may be an attrac­ first quarter of the twentieth century. that have been neglected, often be­ tive odyssey, but it is bad geography During the first decade of the twen­ cause researchers are unaware of their and worse history. The Mississippi tieth century, religious music gained existence, or because they are diJficult substantial recognition through its of access. This pa per will pass in re- Co11tinued on page 14 14

National Conference, co11ti1111ed pean forms and styles by New Or­ early as other immigrant groups. leans composers. The ballroom, the Most of them, however, came as River does not flow through Chicago; salon, the parade grounds, the slaves, the first cargo !having been about the closest one could get to it church, and a thriving local sheet shipped one year after the founding on a riverboat would be Moline, Il­ music industry all contributed to and of New Orleans in 1718. Very soon linois, across the state from Chicago. supported the demand. What espe­ after their arrival, they were permit­ The best way to get to Chicago from cially distinguished the Crescent City ted to engage in Sunday recreations New Orleans was to go north on the from similar early centers of American in a large square where they could "green diamond" -the symbol ap­ musical life, however, was the pres­ sing and dance. They performed pearing on the rolling stock of the Il­ ence of an unusually large black popu­ familiar dances coupled with lyrics linois Central Railroad. lation, the members of which were that they themselves composed in Chicago's black-owned newspapers allowed to participate in the creation their French-based language, accom­ played a critical role in making south­ of this music. By mastering perform­ panying themselves on instruments ern blacks aware of the economic, edu­ ance on European instruments and that they fashioned from materials at cational, and social opportunities composition in European forms and hand. Survivals of these songs and awaiting them in the North. This was styles, Protestant, English-speaking dances became known as Creole slave especially the case during the "Great Anglo-American blacks and Roman songs. The contributions of these Black Migration" of 1916 to 1920 when Catholic, Frencl1-speaking Creoles of black Creoles to the musical heritage approximately fifty thousand south­ color in New Orleans ultimately trans­ of Louisiana and the United States ern blacks immigrated to Chicago, mitted European influences to the de­ were witnessed by nineteenth cen­ creating the South-Side Black Be lt so velopment of jazz. Likewise, the pres­ tury observers, documented by essential to black culture in Chicago. ence of classically-trained black musi­ nineteenth and twentieth century What can we learn about the New cians may have influenced other scholars, and perpetuated by musi­ Orleans-Chicago connection from Creole composers, such as Louis cians. oral histories, and how reliable are Moreau Gottschalk, to incorporate Af­ The Cajuns produced rural French they? There are, of course, obvious rican characteristics in their music. folk music. Their geographic isola­ problems in attempting to obtain ac­ This paper will attempt to (1) explore tion, combined with their desire to curate information from the testimony the historical background of the protect their way of life from outside of a memorist. But careful planning unique black ethnicity of the city, (2) forces, enabled them to cling to their and appropriate methodology can identify the city's major nineteenth­ cultural heritage for many decades. and do elicit reliable reports. century black composers, (3) treat the Eventually, the music became known This paper will address the ques­ phonomenon of expatriate black New to a wider audience, influencing and tion of what happened to New Or­ Orleanians in Eu rope, (4) survey re­ being influenced by that of other leans musical traditions and styles sources for the study of the composers groups, notably white English-speak­ when they reached Chicago during and their work, and (5) pose some ing people and southern blacks. and after the migrations of the early questions about the significance of Today black Cajun music enjoys inter­ decades of the century. Given the fact this little-known history. national attention, and its instrumen­ that the earliest known recordings of tation has broadened from the fidd le jazz were made in New York, Los "Sources for the Study of Creole and and accordian duo to include electric Angeles, and, most importantly, Cajun Music and Their Influence on and steel guitars and drums. Lyrics Chicago (and not in New Orleans), New Orleans Music" are sung in Cajun French, but may can we extrapolate backwards from Florence Borders also be sung in English, reflecting the these documents to postulate an ear­ The search for sources of informa­ impact of commercialization. lier or even contemporaneous New tion about Creole and Cajun music Far from being isolated ethnic Orleans style? What can we learn begins at home and spreads abroad. groups with minuscule impact on about the New Orleans-Chicago con­ Although both Creoles and Cajuns mainstream culture, Creole and nections from the music itself? Finally, are French-languago:? groups that set­ Cajun musicians have been major con­ this paper will discuss the tools, tled in colonial Louisiana, they de­ tributors to the musical heritage of the methodology, and resources required veloped distinct types of music. The state and the nation. Bibliographies for the research of the modes, Creoles preceded the Cajuns by sev­ and discographies will increase our in­ methods, and relationships of the eral decades and considered them formation about these influences. Au­ migration of jazz musicians from New more in the vein of country cousins. tobiographies and biographies of Orleans to Chicago. When the Acadians, or Cajuns, were musicians who came from both exiled from what is now Nova Scotia backgrounds will demonstrate the "Researching Composers of Color in by the British, they sought a new truth of the adage that music speaks Nineteenth-Century New Orleans" homeland. They began arriving in a universal language. The geographic Lester S111/iva11 Louisiana between 1755 and 1765 and distribution of the collections of New Orleans introduced opera to settled in the southwestern part of the sources for researching Creole and the United States, with the city's opera state. Cajun music will indicate the impor­ house prompting the creation of Euro- Black Creoles came to Louisiana as tance of the music in the total spec- 15

trum of our cultural heritage. focused on early jazz, a few studies pertinent to a particular black music in the last decade have concentrated "Zarico: [Zydeco) Beans, Blues, and topic are held in which of the selected on the area's non-jazz musical culture, Chlcago-area Libraries. The establish­ .Beyond" Barry Jean Ancelet principally, rhythm and blues. ment of the Union Catalog will facili­ While New Orleans's influence on tate and stimulate research in black Like the blues, rock, jazz, and reg­ post-World War II popular music is music, providing scholars with easy gae, zarico is the result of a blend of often overlooked by popular music access to Hsts of materials pertinent European (primarily French) and scholars, even a cursory examination to various topics of interest. The Refer­ Afro-Caribbean music traditions. of the musicians who flourished in ence System is designed to provide South Louisiana folk etymology ex­ New Orleans in the twenty years be­ scholars with an unprecedented level plains that the word comes from the tween World War II and the British of extensive and detailed access to line "Les haricots sont pas sales" (The invasion of the rn.id-1960s confirms sound recordings, sheet music, music beans aren't salty), used in many of the importance of New Orleans manuscripts, and vertical file mate­ the tradition's songs; but a look at rhythm and blues in the rock-and-roll rials. Creole traditio11s and the languages revolution. The CBMR Bulletin Board is a of Africa's west coast shows zarico in­ For the serious researcher, attempts forum for individuals interested in volves more than beans. In the earliest at finding sources of information on black music research. It is useful to Alan Lomax recordings (1934) as well post-war music in New Orleans, espe­ scholars and musicians who fre­ as in contemp-Orary music, "zarico" cially that of lesser known musicians, quently or occasionally need: 1) infor­ functions like "blues'' in American can be frustrating. Some of these prob­ mation about out-of-print books, English, referring to hard times and lems stem from the fact that those in­ printed music, recordings, films, and the music that eased the pain of hard terested in this field have not always videotapes; 2) information about cur­ times. Zarico also has a sexual con110- possessed the necessary research rent research activity; 3) bibliographi­ tation related to its likely origins in skills. As a result, many of the tools cal and discographical information; 4) African fertility ritual music and currently available are less than ideal. name/subject authority information dance. It has a broad social applica­ This paper will focus on resources a­ relating to black musicia.ns and black tion, referring to dances and dancers, vailable to researchers, both tradi­ music research; 5) computer programs as well as music and musicians. tional and non-traditional kinds of useful to scholars; 6) and other infor­ "Researching New Orleans Rhythm sources, and lacunae in existing mate­ mation pertinent to research and writ­ and Blues: Identifying the Sources" rials. The paper wiil also shed light ing. Mark McK11ight on potential new areas of investiga­ The usefulness to scholars of the tion for popular music scholars. CBMR Database, with its Union Although New Orleans is most Catalog and Reference System, and often defined as the birthplace of jazz, "The CBMR Database and the CBMR the CBMR Bulletin Board will be de­ it is a city whose musical heritage is Bulletin Board" monstrated through searches and re­ as rich and varied as its justly famous CBMR Staff trievals on microcomputers. cuisine. It is the very complexity of The CBMR Database consists of New Orleans's musical life, both past two complimentary parts. The U11ion Fo r information about attending the and present, that has interested music Catalog of Black Music Materials i11 Conference, write to: National Confer­ researchers in exploring the city's cul­ Selected Chicago-Arca Libraries is de­ ence on Black Music Research, Center tural and musical roots. Whereas most signed for the purpose of providing for Black Music Research, Columbia serious musical scholarshjp concern­ local and visiting scholars with a re­ College, 600 South Michigan Avenue, ing New Orleans music has in the past source for ascertai11ing what materials Chicago, IL 60605-1996. Introducing . . . Members of the National Advisory Board of The Center for Black Music Research by Bruce T11cker, New Brunswick, Nl'lv Jersey

National Advisory Board member tering a field that has not been Orleans, collects original source mate­ Or. Clifton H. Johnson sees a clear explored," he says. "I see the Center rial for the study of America's ethnk connection between the Amistad Re­ as making the whole area more visible minorities, with a primary emphasis search Center, of which he is execu­ and promoting resea·rch in the field." on Afro-Americans. The center holds tive director, and the work of the Founded by Dr. Johnson in 1969 more than eight million items, the Center for Black Music Research. and supported, in part, by the Ameri­ largest such repository in the world. "Just as the Amistad Center did, the can Missionary Association, the Arrus­ Center for Black Music Research is en- tad Research Center, located in New Continued 011 page 16 16

Johnson, continued arrived in Long Island Sound, where realized that it was important that the ship was intercepted by the U.S. something be done to make the re­ Navy. Abolitionists, ,coming to the aid sources available for the study of black of the Africans, carried the fight all history. And that's how the Amistad the way to the U.S. Supreme Court, Research Center began." which eventually allowed the Afri­ Dr. Johnson has also taught at East cans to return to Africa. Carolina College, the University of In addition to the Amistad papers New Orleans, and Dillard University. and materials relating to the American From 1966 to 1969, while at Fisk Uni­ Missionary Association and the in­ versity, he served as dil'ector of the stitutions it founded, the center has American Missionary Association's in its vast collection some notable Race Relations Department. He has musical material, including the pa­ been a consultant to the United States pers of composer Howard Swanson. Department of Education and has The center has also been designated served on boards and on committees as the repository for th e papers of for numerous organizations including Hale Smith and Roger Dickerson. Two the United Nations Association of of the Center's oral history collections Memphis, the Tennessee Council of also focus on music-one of New Or­ Human Relations, the National Com­ leans jazz musicians and one of mittee Against Discrimination in Chicago jazz musicians. Housing, the Center for the Study of Dr. Clifton H. Johnson "The center was originally found­ Southern Culture, the Louisiana Arts ed," says Dr. Johnso;n, "because of the Council, and the Louisiana Folklore The core of its archives includes the neglect of Afro-American history." Commission. approximately three thousand docu­ In fact, he says, he was shamed into His numerous scholarly publica­ ments relating to the Amistad incident, it. tions focus primarily on Afro-Ameri­ the celebrated abolitionist issue out of "In 1950 I went to teach at can history, with an emphasis on the which the American Missionary As­ LeMoyne, a black college in Mem­ antebellum period and the aboli­ sociation evolved. In 1839 two phis," he says. "Though I had a mas­ tionist movement. He edited God Spanish slaveowners, having pur­ ters degree in American history from Struck Me Dead: Religious Conversion chased in Havana fifty-three Africans the University of Chicago and had Experiences and the Autobiographies of brought there illegally, booked pas­ comleted my residency for my doc­ Ex-Slaves (Pilgrim Press, 1969), an oral sage on the merchant ship Amis/ad. torate at the University of North history collection. While the ship was becalmed in Carolina, I knew nothing about black The study of black music, he says, Havana harbor, the Africans seized history. It just absolutely embarrassed is central to black history: "Afro­ control of the ship and forced the me when my students would bring American music .is certainly a major Spaniards to sail toward th e rising up names and incidents that I knew expression of Afro-American culture sun. But at night the Spaniards nothing about. So I began to educate and one of the original contributions steered the ship northward, until they myself in black history. From there, I to American history and music."

"The question," says board member Travis. "They used to tell me what ing stories, played blues piano at rent Dempsey J. Travis, president of his Chicago was like. I was fascinated parties and in clubs around Chicago own realty and insurance companies with all these stories about the city. in the twenties. Unable to read music, since 1949 and recently the author of Then, as a young man, I became dis­ he sent his son to music school at age several pioneering studies of black cul­ appointed because I couldn't read five. By age thirteen, young Dempsey ture, "is not how did I get involved about any of this anywhere." was performing professionally in in black history and black music, but To remedy that, Travis interviewed clubs around the city, playing piano how did I get involved in business." more than two hundred people, most in a style influenced by Earl Hines. His three books- An A11tobiography of them more than eighty years of age, By age sixteen, he was fronting his of Black Chicago (Urban Research Insti­ and researd1ed thousands of news­ own big band-Jack Travis and His tute, 1981 ), An A11tobiogrnphy of Black paper articles and books to produce Orchestra. The high point came at the Jazz (Urban Research Institute, 1983), his story of black Chicago, from the Savoy Ballroom in 1938 in a mammoth and A11 Autobiography of Black Politics arrival of Jean Baptiste DuSable in battle of the bands, including those (Urban Research Institute, 1986)-all 1779 up to 1981. of Fletcher Henderson, Lil A rm­ grew out of experiences and interests "l broadened it, obviously," he strong, and more than twenty other that long preda.ted his successful bus­ says, "but the book. is a reaffirmation prominent groups of the day. iness career. of the information I'd gotten from my In the Army during World War IJ, "My father came to Chicago in 1900 father and uncle." he formed jazz bands that played for and his brother a little earlier," says The elder Travis, in addition to tell- USO dances. He was also shot in a 17 race riot at an army base in Shenango, history of black politics in the area. Pennsylvania, in 1943. After the war The book, based on interviews with he studied music at Roosevelt Univer­ nearly four hundred people and on sity and was graduated in 1949. Big more than fifteen thousand news­ bands had fallen on hard times, so he paper articles and two hundred chose a ca reer in business instead. "l books, took three a nd a half years to wanted to eat regularly," he says. complete. Nevertheless, his friendships with In addition to his writing, publish­ hundreds of jazz musicians and the ing, and business activities, Travis has absence of books by blacks on black served as a trustee for Northwestern music led him to write An Autobiog­ Memorial Hospital, Garrett Evangeli­ raphy of Black Jazz, modeled on th e ear­ cal Theological Seminary, the Na­ lier book about Chicago. Both books, tional Housing Conference, and the published by his own press, Urban Chicago Historica l Society; as director Research Institute Publishing Com­ of the Museum of Broadcast Com­ pany, quickly established themselves munications; and as a member of the on the bestselier list in the Chicago board of directors of UnibancTrust area and stayed there for months. Company, Unibanc Inc., and the His book on black politics grew out Chicago World's Fair 1992 Authority. Dempsey J. Travis of his long-standing friendship with He has participated in five Chicago Chicago mayor Harold Washington. television documentaries, all nomi­ when I was pulling my material on Originally, Travis intended to produce nated for local Emmy awards. jazz together, the book would have a biography of the mayor, but he SOM Of the Center for Black Music Re­ been more comprehensive, and l expanded it, in the manner of his pre­ search, he says, "I think it's a god­ wouldn't have had to sweat quite so vious books, to encompass the entire send. Had th ere been such a center hard."

For thirty years board member strip, and our variants of traditional stern, Director of the Rutgers Univer­ Martin Williams has been among the literary forms." sity Institute of Jazz Studies, has foremost critics and researchers of Probably best known for his work said that Will iams is "the most American art and culture. He has de­ in jazz, he has produced journalism, distinguished critic America has voted much of his professional life to reviews, and scholarly research in produced." an evaluation of that culture. dozens of publications both here and Williams has also contributed past abroad. He has published five books and current entries on jazz to several on jazz including the biographical­ standard reference volumes, includ­ critical study Jazz Masters of New Or­ ing Britm111ica, the l11ternatio11al Cy­ lea11s (Macmillan, 1967) and the well­ clopedia of Mu,-ic mid Musicians, Amcr­ received critical and theoretical work icm1a, Book of K11owledge, Tlze New Grove The Jazz Tmditio11 (Oxford, 1983). In ad­ Dictionary of Music and M11sicia11s, dition, he is the author of Where's t/ze Jcfferso11 , and Collier's E11cyc/opedia Melody? A Liste11cr's Introd11ction to Jazz Yearbook. He fou nded and edited, (Pantheon Books, 1966), Jazz Masters with Nat Hentoff, th e Jmz Review. in Tra11sition, 1957-1969 (Macmillan, From 1971 to 1981 he served as Di­ 1970), and Jazz Heritage, (Oxford, rector of the Ja zz and American Cul­ 1985). He edited The Art of Jazz (Ox­ ture Programs at the Smithsonian In­ ford, 1959) and Jazz Panorama stitution. Since 1982 he has been (Crowell-Collier, 1962) and was gen­ Editor, Special Projects, at the Smith­ eral editor of th e Macmillan "Jazz sonian Institution Press. He selected Masters" series. and annotated the record anthology Composer and conductor Gunther The S111ithso11ia11 Collect ion of Classic Schuller called The Jazz Trad it ion "a bril­ Jazz, and he has taught courses in jazz liant and concise summation of the history at numerous institutions. Martin Williams major developments and figures in Williams has also pursued other as­ jazz." In 1973 the book was awarded pects of the culture of the United "We have produced some of the an ASCAP-Deems Taylor award for ex­ States. He has written on film, the best and most influential artists of the cellence in music criticism. Of the in­ musical stage, theater, children's liter­ century," he says, "and have evolved troductory Where's the Melody?, The ature, the comic strip, and television. our own highEy influential genres of New Yorker wrote that it "makes a dif­ And he has collated and produced ar- art: jazz and its associated dance, ficult subject seem difficult, and abso­ musical theate1·, the movies, the comic lutely understandable." Dan Morgen- Continued on page 18 18

Williams, co11ti1111ed Williams's work on American chil­ way review, Tlte Next President; he dren's literature has included con­ wrote a Smithsonian puppet play; and chival American Musical Theater re­ tributions to the scholarly periodical he has researched television doc­ cordings for the Smithsonian. Clzildre11'$ Litemt11rc! :ind to Tlte Penguin umenh'tries for CBS. Film historian William K. Everson Companio11 to Children's Literature. He Williams sees American art at its called Williams's study D. W Griffith: has lectured widely on jazz, film, and best as often definitive expressions of First Artis/ of lite Movies (Oxford Uni­ children's literature; he has conducted the twentieth century, and as all but versity Press, 1980) "an ideal introduc­ institutes in criticism for the Music irresistable forces in the modern tion to all the other books on Griffith Critics Association; and in 1978 he world. and the films themselves." was awarded a Guggenheim Fellow­ "After all," he says, "we live in a With Bill Blackbeard, he co-edited ship. country which in recent memory has and co-annotated Tltc S111if/1s011ia11 Col­ Rather than pursue his subjects produced William Faulkner and lectio11 of Nt•wspaper Co111ics (Smithso­ only from the perspective of a scholar Dashiell Hammett; Martha Graham nian Institution Press, 1977), called by or critic, Williams has actively worked and Fred Astaire; Eugene O'Neill and the New York Times "a book every social in several of the fields about which he John Ford; Frank Lloyd Wright and philosopher will want to ponder." has written. He has worked in radio Walt Kelly; Charles Ives and Duke El­ With Mike Barrier, he edited A Smitlt­ and television on both sides of the lington; 'Leontyne Price and Sarah s011in11 Book of Co111ic Book Co111ics. His microphone and camera, and he has Vaughan. And it is possible, by the latest book is TV: Tlze Casual Art. (Ox­ been an actor on stage and in film. way, that de Tocqueville would not ford, 1982). He helped write Mort Sahl's Broad- have understood any of them." News and Notes From The Center for Black Music Research /Jy Joseplzi11e Wriglzt, Tlze College of Wooster

Pianist Adullah Ibrahim appeared The Center for Black Music Re­ October 5, 1986, and an article by An­ in concert in Boston, Massachusetts, search, the College Music Society, drew Porter was published in the Oc­ for the first time during the summer and the American Musicological Soc­ tober 27 issue of The New Yorker. of 1986. Of the handful of jazz artists iety will hold their combined 1987 an­ from Africa known in the West, nual meetings in New Orleans Oc­ William Ferris, director of the fbrahim has built a solid reputation in tober 15-18. For further details about Center for the Study of Southern Cul­ the jazz community with a career that the CBMR Conference, see the related ture (University of Mississippi), an­ spans twenty years and almost thirty article earlier in this issue. nounces a 1987 NEH Summer Semi­ albums. AnativeofCapeTown,South nar for College Teachers at his institu­ Africa, he left his homeland in 1962, Conductor Charles Darden di­ tion, focusing on the theme "Blues as after he was denied access to medical rected a band concert for the final per­ History, Literature, and Culture."The school because of mixed racial parent­ formance of the Washington Square seminar, which is scheduled for June age. He settled briefly in Zurich, Festival in Greenwich Village, New 15 through August 7, 1987, will be in­ Switzerland, where he was discov­ York City, in August, 1986. The prog­ terdisciplinary in scope. Applications ered by Duke Ell ington, who offered ram included music by Handel, are encouraged from tead1ers oi him his first recording contract. Schubert, and Sousa. music as well as instructors of Ameri­ can and Afro-American Studies. All Ibrahim made his debut in th e United Composer Anthony Davis has writ­ States in 1965 at the Newport Jazz Fes­ inquiries should be addi:essed to Wil­ ten a new three-act opera entitled X liam Ferris, Center for the Study of tival. He has since participated in (The Life a11d Times of Mnlco/111 X), which numerous benefit concerts for the Southern Culture, University of Mis­ received its world premiere by the sissippi, University, MS 38677. African National Congress and the City Opera at Lincoln Center in New Southwest African Peoples Organiza­ York on September 28, 1986 (Chris­ tion, which support the liberation MCA Records has begun remaster­ topher Keene, conductor; Ben Holt, ing and reissuing classic blues, struggle of black South Africans. title role). The story was by the com­ R & B, and jazz LPs from the catalog The American Society of Univer­ poser's younger brother, Christopher of Chess records, which featured sity Composers will hold its twenty­ Davis, and the libretto was by poet "race records" and "soul" during the second annual conference at North­ Thulani Davis, a second cousin. The 1940s, 1950s, and 1960s. Singer How­ western University April 8-12, 1987. opera is a synthesis of contemporary lin' Wolf is the focus of the first dozen For complete details write: Stephen avant-garde classical music styles and reissues. L. Syverud, Northwestern University, "Third Stream" music. Two extended School of Music, 711 Elgin Road, reviews of the opera appeared in the Portia Maultsby, of the University Evanston, IL 60201. New York Times on September 28 and of Indiana-Bloomington, delivered a 19

paper at the 1986 annual meeting of enue; the Maple Leaf Bar, 8316 Oak; Cleveland), who asked black clergy, th e College Music Society. The Dorothy's Medallion, 3232 Orleans educators, and laity for suggestions November 12, 1986, issue of The Avenue; the New Storyville Jazz Hall, of songs to be included in the compi­ Chro11icle of Higher Ed11calio11 contained 1104 Decatur; and Tyler's Beer Gar­ lation. a review of her paper, which discuss­ dens, 5234 Magazine. Additional ed the role of the black church as an listings of clubs and perfom,ances A new film, Round Midnight, dedi­ important influence upon popular may be obtained by consulting cated to jazzmen Bud Powell and music traditions of Afro-Americans. Wavele11gth, a magazine devoted to Lester Young, has been recently re­ Maultsby credited the performance musical activities in New Orleans leased by Warner Brothers. The film style and oratory of black preachers (available by writing 'A1m,elc11gth, P.O. features Dexter Gordon, Franc;ois with laying "the structural and Box 15667, New Orleans, LA 70175), Cluzet, Sandra-Reaves Phillips, aesthetic components for music and the Jolly Jazz Cale11dar, compiled Lonette McKee, and Herbie Hancock making in black America." by Pat Jolly of the New Orleans Jazz (music composed and directed by Hancock). The Moorland-Spingam Research & Heritage Foundation (1 205 N. Ram­ Center of Howard University has part Street, New Orleans, LA 70116). Jazz pianist Teddy Wilson died in The Louis Armstrong Park in New been recognized by its parent institu­ August, 1986, at the age of 73. Wilson, Orleans has presented performances tion as the Outstanding Service Unit who spent much of his career as a in Academic Affairs for 1985-1986. The of festive brass bands for the last two soloist and leader of his own small years during autumn. The Louisiana selection was made by a special com­ combos, first came to international at­ mittee of Howard Un iversity faculty Jazz Federation has declared October tention as a performer with the Benny as Jazz Awareness Month. This or­ appointed by President James Cheek. Goodman trio and orchestra during ganization promotes a variety of pub­ The Moorland-Spingarn Research the 1930s. In his later years Wilson Center is compi·ised of several depart­ lic programs for media as well as live resided in Connecticut, where he per­ ments: a Library Division, Manuscript performances. A schedule of its formed regularly with his two sons, Division (of which the Music Depart­ events may be obtai11ed by writing di­ Theodore and Steve Wilson. Another rectly to the federation, P.O. Box 7U4, ment is a unit), a Support Division, notable passing was that of jazz New Orleans, LA 70186, or by calling the Howard University Archives, and trumpeter Thad Jones, who died in 504/242-2323. the Howard University Museum. Its Copenhagen, Denmark, also in Au­ holdings, which date from the Karl Koenig ("Dr.K.") advises that gust of 1986. Jones will be remem­ eighteenth century through the pres­ he has a forthcoming book entitled A bered for his arrangements for the ent day, comprise over 100,000 books, Jazz Walki11gTourof tire Fre11c/1 Quarter. poll-winning band that was regularly 6,000 linear feet of manuscript mate­ featured on Monday nights at the Vil­ rials, 850 oral histories, 4,000 pieces Jason Berry, Jonathan Foose, and lage Vanguard in New York City from of sheet music, 7,000 recordings, and Thad Jones have written a new jazz 1965 to 1978. A prolific composer, a 50,000 photographs. (For a more com­ history book called Up from the Cradle few of his notable compositions in­ plete description of the Music Depart­ of Jazz: New Orleans Music Si11ce World clude "Mean What You Say," "Con­ ment and its holdings, see BMR News­ War 11, published by the University of summation," "Fingers," and "Little letter 8, no. 1:7+.) Georgia Press. The book chronicles Pixie." black music in the Crescent City from Several topical notes pertaining to Professor Longhair and Fats Domino The Underground Railroad Theatre the city of New Orleans tha t might be through Wynton and Bradford Mar­ marked its tenth anniversary in June, of interest to readers have come across salis. 1986, Now based in Cambridge, Mas­ the desk of this colLtmnist. Street per­ sachusetts, the company was origi­ formers in the French Quarter of the Roman Catholic Church officials nally founded in Oberlin, Ohio (an Crescent City have recently protested have announced plans for a new hym­ actual station along the historic a proposed city ordinance that they nal, entitled Lead Me, Guide Mc, which Underground Railroad), and was be licensed. The proposal would re­ is aimed at making worship services brought to New England in 1979 by quire that all performers-musicians, and music more meaningful to black its cofounders, Wes Sanders and downs, mimes, jugglers, and dan­ parishioners. The hymnal will be an Debra Wise. The current production cers-buy a license for $100 each year. anthology compiled from several of the company is a work called The city already has a ban in effect sources, including Protestant publica­ Sanctuary: The Spirit of Harriet T11b111n11, against musicians playing music that tions used by predominantly black which is now touring the northeast­ can be heard more than twenty-five congregations, Negro spirituals, ern and southeastern states. Musical feet away. popular gospel and revival hymns, selections from th e production in­ Visi tors to New Orleans who wish traditional Roman Catholic hymns clude Negro spirituals, Latin folk to hear live performances of blues, and chants, original compositions by tunes, and a song composed by Walter R & B, and jazz by local and out-of­ Afro-American writers, as well as Robinson, entitled "Life[ine," which town musicians will certainly want to songs of African and Caribbean ori­ memorializes Tubman. Information explore some of the dubs listed here: gin. The project was initiated in 1983 Tipitina's located at 501 Napolean Av- by Auxiliary Bishop James P. Lyke (of Con ti11ued on page 20 20

News and Notes, continued Cuyahoga Community College­ idents and the respondents at theses­ Cleveland, won second prize in the sion. To obtain a copy, send a check about the group may be obtained by Ithaca College Chora I Competition for or money order for $5.00 to The Col­ calling 617/497-6136. her setting of the poem "Mollie and lege Music Society, 1444 Fifteenth Maggie and Millie and Me" by e. e. Street, Boulder, CO 80302. Composer Walter Robinson, of cummings. She was selected as the Cambridge, was the subject of a half­ Lester Sullivan, archivist at the recipient of the prize from among two Amistad Research Center, New Or­ hour PBS program called Soundings, hundred nation-wide competitors. produced by WGBH-TV (Boston) and leans, Louisiana, hosts a weekly aired in July of 1986. Robinson has The College Music Society now has "Twentieth-Century Classical Show" recently completed a two-hour opera available the contents of the plenary on WTUL-FM in New Orleans. He entitled Look What a Wonder Jesus Has session Fact and Value in Contemporary welcomes the loan or donation of tape Done, which is based on the subject Musical Scholarship which was held in recordings from composers who of antislavery activist Denmark Vesey Vancouver, British Columbia, on would like to have their works aired. and the abortive slave rebellion in November 8, 1985. Reflecting the dif­ He would also appreciate any inform­ Charleston, South Carolina, in 1822. ferent disciplinary agendas and ative comments, either taped or The opera fuses elements of gospel points of view of the American written, concerning the composi­ music, jazz, and classic symphonic Musicological Society, the College tions. Mr. Sullivan may be contacted styles. The world premiere of the Music Society, the Society for at the Amistad Research Center, work is planned for Boston in 1987. Ethnomusicology, and the Society for Tulane University, 6823 St. Charles Music Theory, the booklet contains Avenue, New Orleans, LA 70118. Tele­ Composer D elores White, of the addresses given by the four pres- phone: 504/865-5535.

BMR Newsletter is devoted to the encourage­ BMR Newsletter is published by the Colum­ Inquiries regarding subscription, as weU as ment and promotion ofscholarship and cultural bia College 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. Chicago, JIJinois 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 ..

Updated Music List Six Composers of Nineteenth-Century New Orleans BMR Newsletter, Vol. 9, No. 1

The following List consists of all of the * La Creole: Polka mazurka, for piano. *H Regina: Valse, Op. 29, for piano. works given in the music lists for "Com­ New Orleans: A. E. Blackmar, 1884. New Orleans: Louis Grunewald, posers Comer" :in BMR Newsletter, Vol. 1881. 9, No. I with the addition of many more *t La Creole: Souvenir de la Louisiane, works by Edmond Dede, Lucien Marche, Op. 10, for piano. New *t+ La s~duisante: Grande valse bril­ Lambert, and Sidney Lambert which are Orleans: A. E. Blackmar, 1869. lante, for piano. n.p., c1867. held in the Biblioteque Nationale in *t+ Delphine: Grande valse brillante, Op. *+ Les varietes du carnaval, Op. 23, for Paris. In some cases this additional 11, for piano. New Orleans: Louis piano. New Orleans: Louis information provides publication Grunewald, 1870. Grunewald, 1875. information for works listed in the "Com­ posers Comer" article. As in the former Elodia: Polka Mazurka, for piano. t Les violettes: Valse, Op. 25, for n.p., n.d. list, the locations where the compositions piano. New Orleans: Louis are held are indicated as follows. H Exhibition Waltz, for piano. New Grunewald, 1876. Orleans: L. Grunewald, 1870. * Held by the Center for Black Music *t The Wedding: Heel and Toe Polka, Research, in photocopy format *H Les folies du carnaval: Grande valse Op. 26, arrangement for piano. n.p.: J. Flanner, 1880. t Held, most in photocopy format, by brillante, for piano. New Orleans: the Amistad Reseaich Center, New A. E. Blackmar, cl 867. Orleans, Louisiana Les fus~s musicales (by 1865). n.p., The Music of Edmond Dede n.d. t Held by the Tulane University Ables, ballet n.p., n.d. Library, New Orleans, Louisiana t+ Galop du carnaval, Op. 24, for piano. L' Abile de la chouette: Feerie (dra­ New Orleans: Louis Grunewald, § Held by the Biblioteque Nationale, matic piece). n.p., n.d. Paris, France 1875. § Les Adieux du coursier: Chant H Grande polka des chasseurs, pied a dramatique oriental, for voice. Paris: de la Louisiane, for piano. New E. Fromont, 1888. The Music of Basile Bares Orleans: Basile/fol ti & Simon, 1860. L'Amour! c'est-y bon? Bordeaux, *t Basile's Galop, Op. 9, for piano. tt La louisianaise: Valse brillante, for § France: E. Philibert, 1877. New Orleans: A. E. Blackmar, 1869. piano. New Orleans: A. E. Blackmar, *t La belle Creole: Quadrille des 1884. L'Anneau du diable: Feerie (dra­ matic piece) in three acts. n.p., 1880. lanciers americains, for piano. New The Magic Belles (by 1865). n.p., Orleans, A. Elie, 1866. n.d. L' Antropohage, operetta in one act. n.p., 1880. *H La capricieuse: Valse, Op. 7, for *H Mamie Waltz, Op. 27, for piano. piano. New Orleans: A. E. Blackmar, New Orleans: Junius Hart, 1880. Apres le miel, opera comique. n.p., 1869. Reprinted in Music and Some 1880. Highly Musical People, James M. Mardi Gras Reminiscences: Waltz, Trotter, pp. [Appendix] 60-68. New for piano. n.p., n.d. Arcadia ouverture, for orchestra. n.p., n.d. York: Johnson Reprint Corp., 1\168. tt Merry Fifty Lancers, Op. 21, for t:t Les cent gardes: Valse, Op. 22, for piano. New Orleans: Philip Werlein, § Battez aux Champs: Cantate dediee piano. New Orleans: [Louis 1873. a L. M. l'Empereur Napoleon IIl. Manuscript, 1865. Grunewald], 1874. Minuit: Polka de salon, for piano. ft La coquette: Grande polka de salon, n.p., n.d. § Bikina: Conseil hygienique. Bordeaux: Emile Marchand, 1881. for piano. New Orleans: A. Elie, *H Minuit: Valse de salon, Op. 19, for 1866. piano. New Orleans: Henry Bordeaux: Grnnd valse. n.p., n.d. Wehrmann, 1873. t La course: Galop brillante, for piano. Les Canotiers de Lorment, ballet­ New Orleans: A. E. Blackmar, 1866. divertissement. n.p., 1880. 2

Caryatis, ballet-divertissement. n.p., § La Joumce Champetre, for chorus. La phoceenne: Grand valse. n.p., n.d. Paris: E. Fromont, 1890. n.d. § El Pronunciamento (la conspira~:on): § C'est la fautc a Colas, for voice. § Kikipatchouli et Kakaoli: Duo Marche espagnole, for piano. Paris: Paris: L. Couderc, 188 I. chinois, for vocal duet. Paris: G. Bathlot el Heraud, 1886. Ondet, 1891. Chant dramat.ique, for orchestra. n.p., Quadrille. n.p., n.d. n.d. § La Klephte: Chant. drarnatique ori­ § Quasimodo, for voice. Bordeaux: E. ental. Paris: E. Fromont, 1888. *§ Chicago: Grand valse aI' arnericaine, Philibert, 1865. for piano. Paris: E. Fromont, 1892. § La Malagaise: Seguedille, for voice. § Quasimodo, for voice. Bordeaux: E. Paris: E. Fromont, 1888. § Chicago: Grande Valse a l'amfai­ Philiben, I 869. caine, for orchestra. Paris: E. § Le Marinde la France: Chansonnette § R~verie champctre: Fantaisie, duet de bord. Bordeaux: E. Philibert, Fromont, 1891. for violin and violoncello or flute 1855. Chile-King-Fe, operetta in one act and bassoon with piano accompani­ n.p., 1878. § Mephisto masque: Polka fantastique, ment Paris: Author, 1891. for piano. Paris: L. Bathlot et § Comme une socur, for voice. Paris: § Rosita: Cancion Sevii lanne, for Heraud, 1889. F. Guillemain, I 887. voice. Paris: J. Pou la lion, 1890. § Mephisto masque: Polka fantastique, § La Conspiration des amoureu,c: La sensitive, ballet in two acts. n.p., for orchestra. Paris: L. Bathlot et D'apr~s le Pronunciarnento Marche 1877. Heraud, 1889. espagnole, for voice. Paris: BathlOL Si j'etais Jui, for voice. n.p., n.d. et Heraud, 1887. Mirliton fin de siccle: Polka ori­ ginate, for orchestra. Paris: E. § Le Serment de I' Araibe: Chant § Cora la Bordelaise, for voice. Fromont, 1891. dramatique, for voice. Bordeaux: E. Bordeaux: E. Philibert, 1881. Philibert, 1865. § Mirlitoo fin de sicclc: Polka ori­ § Cora la Bordelaise, for voice. 2nd ginate, for piano and mirliton. Paris: *t "Le scrment de I'Arabe," a dramatic edition. Paris: Vve Gheluve, 1881. E. Fromont, 1898. aria from Sultan d 'Ispahan. § En Chasse: Mazurka elegante, for Reprinted in Music and Some Highly § Mon beau Tyrolicn: Tyrolienne com­ orchestra, by Eugene Dede. Edited Musical People, James M. Trotter, ique. Bordeaux: E. Philibert, 1876. by Edmond Dede. Paris: n.p., 1891. pp. [Appendix] 53-59. New York: Mon pauvrc cocur, for voice. n.p., Johnson Reprint Corp., 1968. Diana et Acteon, ballet-divertisse­ t 1852. ment. n.p., n.d. § Si tu m'aimais. Arrangement of the § Mon sous off, for voice. Bordeau,c: melody by R. Van Erbs. n.p., 1893. Ellis, ballet n.p., n.d. E. Philibert, 1876. Spahis et Grisettes, ballet­ Emilie. n.p., n.d. § Mon sous off'cier: Quadrille brillam, divertissement in one act. n.p., 1880. § L'Ermitage ou !'hospice de Sl. for orchestra. Bordeaux: E. Philibert, Sultan d'Ispahan, opera in four acts. Vincent de Paul Pouy pres Dax 1877. a n.p., n.d. (Landes): Romance religieuse, for Nchana, rcinc des f'ccs, ballet in one voice. Bordeaux: E. Philibert, 1855. Sylvia, overture. n.p., n.d. act. n.p., 1862. Les etudiants bordclais, operetta in Symphony ("Quasimodo," by 1865). Le Noye, opera comique. n.p., n.d. one acl. n.p., 1883. n.p., n.d. Les nymphes et chasseurs, ballet in Les fau,c mandarins, ballet. n.p., n.d. § Titis: d~bardcurs et griseues, for one acl. n.p., 1880. voice. Paris: Smite, 1876. § Francoise et Cortillard, for voice. § Ous'qu'cst mon toreador?, for voice. Bordeaux: E. Philibert, 1877. § Tond les chiens, coup'les chats: Duo Paris: Bathlot et Heraud, 1889. burlesque, for voice. Paris: Puigellier § Le Garyon troquct: Chanson-type, Le Palmier ouvcrtiure, for orchestra. & Bassereau, 1893. for voice. Paris: Raymond Viel et n.p., n.d. Masson, 1887. Le triomphe de Bacchus, ballet­ Papillon bleu: Grand valse. n.p., n.d. divertissement. n.p., 1880. Le grillon du foyer, operetta. n.p., n.d. Paris: Grand valsc. n.p., n.d. Une aventure de 'Thlemaque, opera. n.p., n.d. § J'la connaist, for voice. Paris: chez Patriotisme, ballad. n.p., n.d. Duhem, 1884. r ..

3

§ Une Noce en musique: Chansonnene Bruneau. Transcribed for piano, four brillante, Op. 31, for piano. Paris: comique. Paris: Balhlot et H~ud, hands. Manuscript, 1902. Colombier, 1859. 1889. § Les Bords du Rhin: Polka brillante, § Les Cygncs: Melodie, for voice and Vaillant belle rose quadrille. n.p., for piano. Paris: J. Heinz, 1861. piano. Paris: Bruneau, 1890. n.d. § La Bresiliennc: Polka brillante, for § Daniella: Polka brillanle, for piano. piano, Op. 58. Paris: Colombier, Paris: J. Heinz, 1857. 1864. The Music of Lucien Lambert § Daniella: Polka de salon, for piano, § Bresiliana: Fantaisie caprice brillant, four hands. Paris: J. Heinz, 1869. Ah, vous disaise-je maman. piano for piano. Paris: J. Heinz, 1869. transcription. n.p., n.d. § Delhi: Polka-mazurka, for piano. § Bresiliana: Grande valse brillante, Paris: J. Heinz, 1858. § Ah! vous dirai-je maman: Caprice, for piano. Paris: au Menestrel. 1875. for piano, Op. 33. Paris: Colombier, § Le depart du conscric Fantaisie­ 1861. § Broceliande: Opera feerique in four marche, Op. 32, for piano. Paris: acts, piano-vocal score. Paris: au Colombicr, 1859. § L' Amaronc: Caprice mazurka, for Menestrel, 1892. piano, Op. 67. Paris: Colombier, § En Avant: Galop brillant, for piano, 1890. § Le Calabrais: Galop brillant, for Op. 45. Paris: Colombier, 1864. piano, Op. 39. Paris: Colombier, § L'Americaine: Grande valse bril­ § Entr'acte to act II, from Le Spahi: 1861. lante, for piano. Paris: Colombier, Pocme lyrique, for piano. Paris: 1866. § La Canadienne: Polka brillante, for l'fllustration, 1897. piano, Op. 34. Paris: Colombier, § Adagio du trio, Op. 11, by § Esquisscs creoles, for orchestra. 1861. Beethoven. Arrangement for piano. Transcribed for piano, four hands. Manuscript, I 862. § Caprice mazurka, for piano. Paris: Paris: n.p., 1898. Mackar et Noel, 1891. § Andante ct fantaisie [illegible). for Etude-mazurka. n.p., n.d. piano and orchestra. Paris: Heugel, § Le Camaval de Paris: Variations bril­ § Fantaisie hongroise, for piano. Paris: 1892. lantes sur une chanson populaire de Colombier, 1884. L. Abadie, for piano, Op. 36. Paris: § L' Angelus au monast~re: Pri~e. for Heugel, 1861. § La Flamenca, musical drama in four piano. Paris: Impr. de Dinquel, 1854. acts, piano-vocal score. Paris: § Le Camaval venitien: Quadrille bril­ § L' Angelus au monast~rc, ct le Choudens, 1903. lant, for piano. Paris: Colombier, Depart 2 Romances sans paroles. for 18(i(). piano. Paris: J. Heinz, 1862. § God Save the Queen: English Na­ tional Anthem. Arrangement for § Le Carnaval vcnitien: Quadrille bril­ § Au bord du ruisseau. Paris: Heugel, piano, Op. 43. Paris: M. Colombicr, lant, for piano, four hands. Paris: 1895. 1862. Colombier, 1861. § Au clair de la lune: Variations et § God Save the Queen (English Na­ § Le CastiJlan: Bol6ro, for piano. Paris: final, for piano, Op. 30. Paris: tional Anthem). Arrangement for J. Heinz, 1861. Colombier, 1859. piano. Paris: Colombier, 1881. § Chanson cosaque, for voice and *H Au clair de la lune, Op. 30. Paris: § Hymnis: Drame antique in one act, piano, with choir ad lib. Paris: Emile Gallet, n.d. Reprinted in Music for voice and piano with flute or Heugel, 1893. and Some Highly Musical People. violin accompaniment. Score and James M. Trotter, pp. [Appendix] § Chanson de nourrice, for voice. parts. Paris: Bruneau, 1889. 69-80. New York: Johnson Reprint Paris: Heugel, 1896. La juive. n.p., n.d. Corp., 1968. § Chants d'oiseause: Melodie, for § Jupiter: Grande polka brillante, for § Aubade, for voice and piano. Paris: chorus and piano. Paris: H. Tellier, piano. Paris: J. Heinz, 1859. Conrard, 1886. 1890. § Legende roumaine d'apr~ des motifs § Berceuse. Arrangement of the song § Les Cloches de Porto: Tableau musi­ populaires. Orchestral reduction for by L. M. Gottschalk. Paris: A. Noel, cal. Orchestral reduction. Manu­ piano, four hands. Paris: Heugel, 1898. script, 1912. 1893. § La Belle au bois dormant: Poeme *§ Cloches et clochencs: Etude mazurka symphonique pour orchestrc, by Alf. § La Lyonnaise: Polka-mazurka, for piano. Paris: Chorel, 1856. 4

§ La L yonnaisc: Polka-mazurka, for Pluie de Corails. n.p., n.d. § L'Allegresse: Grande valse brillant~. piano. 2nd edition. Paris: au for piano, Op. 6. Paris: A. Cl H. § Polka havanaise. for piano. Paris: au M6ncs11el, 1857. Lu inzard Frcrcs, 1868. M6nestrel, 1862. § Marche fun~brc, for piano, Op 66. § Anna Solena, de Donizetti: Petite § Prelude, fugue ct post! udc, for piano. Paris: Colombicr, 1890. fantaisie. for piano. Paris: M. Manuscript, 1924. Colombier, 1872. § Marlborough: F'antaisie mililaire, for § Reve de bonhcur: Polka-mazurka, for piano. Paris: F. Janet. 1861. § Le Cam~lia: Mazurke de salon, for piano. Paris: 0. Legouise, 1860. piano, Op. 21. Paris: L. Gregh. 1882. § Marlborough: F'antaisic mili1aire, for § Rcve de bonhcur: Polka-mazurka. piano. Paris: Colombier, l 881. § Cassilda: Valsc de salon, for piano. Arranged for piano, four hands by Paris: Loret & Sons and H. Freytag, § La Marseillaise: Oeuvre lyrique, in A. Bouleau-Neldy. Paris: de 1899. one act, piano-vocal score. Paris: Moucelot, I 866. Choudcns, 1900. § Ccl~bre Tarcntcllc, by Louis Moreau § Le Reve du solitaire: Contemplation, Gottschalk. Arranged for two pianos, § Le Niagara: Grande valse brillantc, for piano. Op. 28. Paris: J. Heinz, four hands. Paris: n.p., 1890. for piano, Op. 29. Paris: Colombicr, 1859. 1860. § Les Clochcttcs: Fantaisie Mazurka, § Le Roi Dorgobert: Caprice, for Op. 9. Paris: Alphonse Leduc, 1872. § Nouveaux Excrcices journaliers ex- piano, Op. 44. Paris: ColombiCJ', (Reprinted in Music and Some 11aits des Sonates de Beethoven: 1862. llighly Musical People, James M. Classes et do1gtes. 2 vols. Paris: § Rose de Noel: Polka mazurka, for Trotter, pp. (Appendix] 86-95. New Colombier, 1882. piano. Paris: J. Heinz. 1864. York: Johnson Reprint Corp., 1968.) § Olga: Polka-mazurka, for piano. § La rose et le Bengali: Inspiration, § La Coquette: Schottisch, for piano. Paris: H. Lemoine, 1861. Op. 4, for piano. Paris: L. Escudier, n.p.: Author, 1866. f§ Ombres aimccs: Reve, for piano, Op. 1854. § L'Elisire d'amore, opera de 35. Paris: Colombier, 186 I. § La Roussalka: Ballet-Pantomime in Donizetti: Petite fantaisie, for piano. § L'Onde et Jes roscaux: Grande valsc, two acts, full score. Paris: Choudcns, Paris: M. Colombier, 1870. for piano. Paris: J. Heinz, 1859. 191 I. § L'Elisire d'amorc, opera de § Ouvcnure de Broceliandc. Paris: § Ruisseau d'automne! Paris: Donizetti: Fanlaisie, Op. 8, for piano. Heugel, 189 I. Choudens, 1905. Paris: A. Leduc, 1872. Paris, Viennc. n.p., n.d. § Sire Olaf: Lcgende dramatique in § Fleurs aimces: Mazurka, for piano. three acts. Paris: J. Hameffe, 1888. Paris: Lorct & Sons, 1889. § La Parisienne: Polka brillante, for piano. Paris: Choret. 1856. § Le Spahj: Poome lyriquc in four acts. § Flcurs aim6cs: Polka-mazurka, for Paris: Choudens, 1897. piano. Paris: M. Colombier, 1880. & La Parisiennc: Polka brillante, for piano. 2nd edition. Paris: au § 3 Melodies, for voice and piano. I. § Gavotte, from L'A/bum du jeune M6nes11el, 1857. Aubade, II. A 1'i nnommee. III. pianiste, for piano. Paris: LorcL & L'ame en dcuil. Paris: Bruneau, Sons, 1887. § La Penticosa: Drame lyrique in two 1889. acts. Paris: Soci~te musicale G. § Marchc des demoisclles, for piano. Asltuc & Co, 1908. § Voix celestcs: Reverie, for piano, Paris: Lorct & Sons and H. Freytag, Op. 40. Paris: Colombicr. 1872. 1895. § La Pfauvienne: 2me grande polka, for piano. Paris: au Mencstrel, 185'J. § Venise: Improvisation sur le § Mazurka Tyrolienne, for piano, Op. Carnaval de Vcnise, for piano. Paris: 11. Paris: A. Leduc. 1873. § La Peruvienne: 2me grande polka, Colombier, 1890. for piano. 2nd edition. Paris: au § Mazurka Tyrolicnne, for piano. 2nd Mencstrel, 1860. edition. Paris: A. Leduc, 1874. § Plaisir des champs: Marceau de T he Music of Sidney Lambert § Menuet, for piano. Paris: M. genre, for piano, Op. 60. Paris: § L' Africaine, Op. 14., ltanScription Colombier, 1883. Colombier, 1861. for piano. Paris: Brondus, 1872. 5

§ Mon Etoile: Celebre valse, by F. A. § Si j'etais roi, d'A. S. Adam: Reverie, The Music of Samuel Snaer Rcnte. Arrangement for piano. Paris: for piano. Paris: A. Leduc, 1868. n.p., 1872. Allegro. n.p., n.d. § La Sonnambule (Petite fantaisie sur § Murmures du Soir: Caprice, for I~). Op. 10, for piano. Paris: A. Le bohemien (by 1877). 111.p.• n.d. piano, Op. 18. Paris: J. Hillard, Leduc, 1872. t Chant bachique, for male choir. 1876. t Stella mon etoile: Celebre valse. Ar­ Manuscript. n.d. § Ninette: Valse, for piano. Paris: rangement of the melody of the same Le chant des canotiers. n.p., n.d. Loret & Sons and H. Freytag, 1896. name composed by F. A. Rente. New Orleans: Philip Werlein, 1879. *t Le chant du deporte, for voice. New § Ninon: Valse, for piano. Paris: Loret Orleans: Louis Grunewald, 1865. & Sons and H. Freytag, 1897. § Les Sylphes: Impromptu, for piano, Op. 13. Paris: A. Leduc, 1873. Donnez, mes chhes amours. n.p., § Ninon-Ninette: Menuet, for piano. n.d. Paris: Loret & Sons and H. Freytag, § Transport joyeux: Valse de salon, for 1896. piano. Op. 16. Paris: J. Hielard, Grand scene lyrique. n.p .., n.d. 1874. § 0 Sanctissima, for piano, Op. 17. Graziella Overture, for orchestra. Paris: M. Colombier, 1876. § Transport joyeux: Valse de salon, for n.p., n.d. piano. 2nd edition. Paris: J. Hielard, § Perle haitienne: Polka-mazurka, for t Magdalena: Valse, for piano. Manu­ 1875. piano, Op. 3. Paris: M. Colombier, script. n.d. 1867. § Valse caprice, for piano, Op. 23. * Mass for Three Voices. "Gloria" and Paris: L. Gregh, 1883. § Petite Fantaisie sur "La Som• "Agnus Dei" reprinted in Music and nambule," by V. Bellini. Arrange­ § Valse caprice, for piano, Op. 23. 2nd Some Highly Musical People, James ment for piano. Paris: n.p., 1872. edition. Paris: L. Gregh, 1884. M. Trotter, pp. [Appendix] 127-152. New York: Johnson Reprint Corp., § Premieres l~ons de piano ~ la ponce § Vive la Polka, for piano. Paris: M. 1968. des enfants du 1. ~ge, Op. 28. Paris: Ravelet, 1882. Loret & Sons, 1886. t+ Rappelle-toi, for voice. New Orleans: Louis Grunewald, 1865. * Rescue Polka Mazurka, for piano. The Music of Eugene V. Providence, R.I.: Cory Brothers, *H Sous sa fenetre, for voice. New 1869. Macarty Orleans: Louis Grunewald, 1866. § Romance de "La Cruche cass6e": *t+ Fleurs de salon: 2 Favorite Polkas Le vampire. n.p., n.d. ("L' opera-comique, by Emile Pessard. Alzea: Polka mazurka" and "La Transcription for piano, Op. 12. Caprifolia: Polka de salon"), arrange­ Paris: A. Leduc, 1873. ment for piano. New Orleans: n.p., 1854.