Black Music Research Newsletter, Spring 1981

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Center for Black Music Research: Black Music Research Newsletter Publications

Spring 4-1-1981

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Spring 1981" (1981). Center for Black Music Research: Black Music Research Newsletter. 14. https://digitalcommons.colum.edu/cbmrnews/14

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Volume 4 - Number 3 ISSN Number 0271-3799 © Fisk University 1981 Spring, I 98 I

The Blues as Dance Music'

by Albert Murray

With a ll their pseudo-inside Duke Ellington to be the greatest of ice. Nor does there seem to be any word play, all the gratuitous redun American composers immediately compelling reason why the a udie nces d ancies about jaz.z which is to say began wringing their hands and shak for whom such music was written and blues music being an art form indi ing their heads over what struck them performed in the first place should genous to the United States, and in as being the cruel state of affairs that not continue to be able to enjoy it in its d eed w ith all their ever ready lip- forced him to spend most of his time natural setting s imply becaus e 5e rvice to the element of swing as a on the road with his orchestra playing another audience now exists in the definitive factor of the idiom, when in night clubs, ballrooms, and theat concert hall. these very same reporter/reviewers ers. The fact that Duke Ellington had Not that the function of the concert give their evaluations of actual per already become Ellington the Com hall is not aJs o fundamental. It pro formances, wheth,er live or on rec poser by writing music for such places vides a showcase for the new and ords, it is almost always as if they long before his first Carnegie Hall serves as a permanent galle ry, so to were writing about the concert music concert seems to have escaped them speak, for the enduring. Moreover, as of Europe. They condone as well as at such moments, as did the fact that in the case of the great masterpieces of condemn on assumptions that are es as important as formal concerts came European church music, it affords sentially those of the European to be to Ellington, he ne·ver expressed opportunities for the music to be Academy. Not that they themselves any desire to take his orchestra off the heard on its own apart from its role as 5eem to be basically hostile to any of drcu.it. As he said one night during an an element in a ritual, in other words the indispensable elements of the in~nnission in a dance at the Propel as a work of art per se. Thus the idiom. On the contrary, they seem to ler Oub at Tuskegee to a young liter concert-hall recital a t its best is in a be personally fascinate d and de ary type who was concerned about an very real sense aJso an indispensable lighted by them. But even so they al article that had reported him (El extension of the dance hall. It can most always write as if about lington) as having said that he con serve as a sort of finger-snapping, concert-hall mus ic rather than dance tinued to write dance music mainly to foot-tapping annex auditorium, music. w i..r, more people over to his longer where the repertory includes not only Some have even written that blues concert pieces: the new and the perennial but also musicians should not have to play in such classics as, say, Grandpa's Spells, honky-tonks, dance halls, night Don't pay any attention to those guys, sweetie. When you get so god Sugar Foot Stomp, and Potato Head clubs, variety shows, popular festi damn important you can't play places Blues, that some dancers may be too vals, and the like. As if d own.right like this anymore you might as well give fad-conditioned or otherwise preoc oblivious to the literal source as well it up, because you' re finished. We '-: ' <> cupied to request. Also, inasmuch as as the intrinsic nature and function of play everything. We' re always :~· all occasions and circumstances seem the idiom, some have gone so far as to happy when they ask us, to play prom.· to generate musical responses sooner represent the experience of playing in weddings, country cl ubs, ballpau s. or later, there is nothing intrinsically Storyville, or the dives and dance You see, this way we get to have most of inauthentic about blues music which halls of Memphis, Chkago, Kansas lhe fun, be<:ause the d.mcen are not just is composed specifically for concert City, and Harlem as a most outrage- sitting theTe watching; they're having a recital. 0us form of injustice! There are those ball. But then the phonograph record who even as they used to declare The-re is nothing at all ironic about has served as the blues musician's Stomping at the Savoy and Moten equivalent to the concert hall almost from the outset. It has ~ in effect •From Stofflpi ng the 8/wn by Albert Mur Swing being witten by musicians for :ay. Copyright 1978, McGr.;,w-Hill Book whom the Saturday Night Function his concert hall without w.alls, his Company. Used by permission of was as much a part of what life is all musee imaginaire, his comprehensive t \fcGraw-Hill Book Company." about as is the Sunday Morning Serv- anthology, ·and also his sacred re- ! • pository and official archive. Many boy: Doo clooby dooby dooby daba bands in the New Orleans s treet blues-idiom composers use the rec doodadoo ... . Say w hat you drink parades. orded performance as the authorized ing Lester? You want something to In other words, althoug h it may not score. Jo Jo Jones and Eddie Durham eat? You can't spend no money in this have been possible for the master have said t.hat the first written ar town, Lester. You know that, don't pieces of Mozart, Bach, and Beeth rangement of Count Basie's One you? oven to have been composed had not o'Clock Jump was copied from the rec "Man, here that bad Mr. Johnny music been released from the restric ord by Buck Oayton (Decca DXSB Hodges. Man, here the Rabbit, in per tions of its secondary role as an ele 7170). His torians and critics of the . son all the way from the Cotton Oub ment in a ritual to become an inde idiom also use the recorded perfo rm in the Heart of Harlem. Hey, Johnny, pendent art form as such, it does not ance as the official score. What Martin vou kno"· that thing you did called fo llow that the concert hall 1; the re \\'illiams, fo r example, refers to in his Squ<1ty Roo? Man I played that record fo re indispensable to the e,tension, discussion of Jelly Roll :V!orton, Duke and some cats c1round here started to elaboration, and ultimate refineme nt Ellington, and Thelonious Monk as give u p blowing. Then they borrowed of the intrinsic possibilities of blues outstanding composers is not their my record and like to wore it out. You music. For one thing, the great body collected scores but their recorded got them working, Johnny." of European Art Music was already in pe rformances. Williams's book The Louis Armstrong had so many exi!>tence and .already a part of the Jazz Tradition is based primarily on musicians working like that on his heritage of blues musicians. It was al recorded performances, and the same records in so many places that people ready there Jo be played with, and is true of Cunt.her Schuller's Early used to say all he had to do to play a blues musicians did just !flat, as they Jazz. dance in any town of any size was just did with eyerything else in earshot · Nor is that all. For much goes to tum up with his horn, because all he that struck their fancy. Pµ:ld the dan show that it may have been precisely needed was a couple of hours and he cers loved it. the phonograph record (along with could round up enough local musi But what is at issue is-the primordial radio) that in effect required the more cians who knew his .records note for cultural conditio'n.ing 0f the people for ambitious blues musicians to satisfy note to make up any kind of band he whom blues music was created in the the concert-oriented listeners and wanted to work with for the occasion. fi rs t place. They are d ance-beat Bacchanalian re velers at the very They also used to like to tell about o riented people. They refine all same time; long before the first formal how sometimes when the people got movement in the direction of dance concerts. Even a s Chick Webb kept there and saw all the hometown beat elegance. Their work m ovements them stomping at the Savoy Ballroom musicians on the bandstand they become dance movements and so do on Lenox Avenue in Harlem, and Earl started grumbling, and then old Louis their play movements; and so, indeed Hines kept the m shuffling at the would thread it all to gether with his do all the movements they use every Grand Terrace on the South Side in trumpet as if with a golden needle and day, including the way they walk, Chicago, their o rchestras were also everybody would settle down and s ta nd, turn, wave, s hake hands, playing what to all intents and pur have a good time. Whether that part reach, or make any gesture at all. So, poses was a finger-snapping, foot was true or not the way they used to if the overwhelming preponderance tapping concert for listeners huddled like to tell it, you could see old Louis o f their most talented musicians has around radios all over the nation. with his trumpet case and his man been almost exclusively preoccupied {Not a few d ance parties all over the ager with a briefcase, and maybe a with the composition and perform nation were also geared to the radio, piano player with a folder full of ance of dance music, it is altogether but that is another story.) Moreover music, being met at the local train sta consistent with their most fundamen most of the program was either al tion in the middle of the a fternoon by tal conceptions of and responses to ready available on records or soon the hometown promoter, who al existence itself. would be. When any of the orchestras ready had all the musicians waitu\g And besides, as little as has been that had made recordings of merit for him at the dance hall. Then, as made of it by students of culture, not went on tour, musicians found other they used to tell it, all old Louis would to mention accessors and technicians musicians and laymen alike in almost do was sit off to o ne side on the of social well-being, the quality of every town who were not only a5 bandstand stripping and cleaning his dance music may actually be of far familiar with their styles as with the horn piece by piece while the piano greater fundamental significance than mannerisms of a favorite athlete but player held the audition and ran that of concert music anyway. Dance, after all, not only antedates music, but also could recite their solo-- ,..,te for through a quick rehearsal. That was ' ~- all it usually took, because what hap- is also frobably the most spec' ·, ,' I Anytime a band pulled i.t'..v town pened was that they spent the whole source o music and most of the o' ' early enough before the engagement dance playing for old Louis, while the art forms as well. It is not by cha.tee it was always the same story no mat rest of the local musicians (along with that poetry, for instance, is measured t.er whett it was: " Hey, here's that a number of radio and record fans and in feet, and that drama was originally Goddamn l.e,ur, man. Goddamn. W1t11t hipster,) clustered around the stage mainly a combination of poetry and Sll1J l.e,tu? This my 1111111, cousirt. Dog· in what Count Basie has referred to as choreography performed nof on a gins Around, man, you know that the bandstand audience and which is stage but in the orchestra, in other record? That's my reoord. Right a.ft.er the ballroom equivalent of the tradi words, a dancing place! Furthermore, old Count gets through cutting hif lit,, tional Second Line that dances and dance, according to impressive an de diamond, heft come my natural pranca along beside the marching thropological data, seems to hav~ been the first means by which human be, is not reverence for the so-called tax of the blues convention is such consciousness objectified, sym classics but rather an understanding that they are able to discern the rela bolized, and stylized its perceptions, of what is being stylized plus an accu tive emphasis each musician under conceptions, and feelings. Thus the rate insight into how it is being consideration places on the definitive very evidence which suggests that the stylized. Each masterwork of art, it component of the idiom that is his pragmatic function of concert music is must be remembered, is always first actual frame of reference. to represent the dancing of attitudes of all a comprehensive synthesis of all Not that the masterworks of the also serves to reinforce the notion that the aspects of its idiom. Thus to ig great European composers are not a dance is indispensable. nore its idiomatic roots is to miss the fundamental part of all American Reporters and reviewers who as essential nature of its s tatement, and musical sensibilities. Not that thev are sumt? that their role is to determine a rt is nothing if no t stylized sta te not also indispensable to the repor how wt!II blues music measures up to ment. Indeed it is precisely th e styli ter's overall perception of context and s tand.ird~ b;ised •.:m principles formu zation that is the sta tement. In short, universal signiti.:.> nce. :--.:e,·ertheless it lated fro m the s pecial conceptions no matter how much ireviewers know is primarily in terms of his ve rnacular, and techniques of European about the classics of European music which is to say, the actual working concert-hall music are misguided not or any other music, they should pre frame of reference, that a blues musi only as to the most pragmatic function sume to interpret and evaluate :he cian's sense of proportion must be of criticism but as to the fundamental work of blues musicians only when judged. nature of art as well. For art is always a their familiarity with the special syn- matter of idiomatic stylization, it transcends both time and place. Thus criticism, the most elementary obliga tion of which is to increase the acces SCOTT JOPLIN: QUESTIONS REMAIN sibility of aesthetic presentation, is primarily a matter of coming to terms !iy Addison Reed with such special peculiarities as may St. Au'?ustines College be invoh .,d in 11 given process of styli Raleigh. North Carolina zatio n. What counts in a work of art, which A music and a man once thought Houston production went to Broad after all must achieve such univer lost to oblivion are now heralded as way and played several weeks at the sality as it can through the particulaxs significant forces in American culture. Uris Theatre. Since then, the same of the experience most native to it, is The seventies was the decade of the production has been recorded on not the degree to which it conforms to Scott Joplin renascence. With the pub Deutsche Grammophone. No one could theories, formulas, and rules that are lication of The Collected Works of Scott doubt thatthese events mark a crown best regarded as being, like Aristotle's Joplin, the recordings of Joplin's rags, ing achievement for a black composer Poetics, generalizations after the fact, and significant articles appearing in born so soon after the Emancipation but how adequately it fulfills the re scholarly journals, his music achieved Proclamation. quirements of the circumstances for a status which it previously had not During the second half of the 70s, which it was created. When, as in the enjoyed. As with so many of our there were fwo movie scores which case of the mast,erpieces of Ren.lis composers of genius, the "establish fostered the popularity of Scott Joplin sance painting and Baroque music, ment'' had to accord its blessing be and his music. The first was "The great art goes beyond its original im fore the music became legitimate. As Sting," for which the composer did peratives, it does so by extending the the decade of the eighties begins, it is not receive proper credit. The confu implications of its response to its orig readily evident that ragtime, its com sion of authorship is interesting. One inal circums_tances-as happened posers, and especially Scott Joplin, example is that at a ragtime festival in with the entertainments William will always stand as important facets Sedalia, Missouri a young man asked Shakespeare concocted (in much the of American music history. me, "did Marvin Hamlisch write the same manner as a blues-idiom Scott Joplin spent many of the last Enterlainer?" I said, No! The Enter arranger/composer, by the way). for yeaxs of his life preparing what is con tainer was written by Scott Joplin! the diversion of the patrons of th.e sidered to be his major work-Tree One possible reason for the question Globe Theatre. The source of the monisha. During his life time, the is that the only mention of Joplin three unities in the drama of Ancient opera was never performed adeq11ate comes at the end of the picture when Greece is not Aristotle's abstractions ly, its only presentation being a the credits are rendered. The credit about form and propriety but rather rehearsal/performance whlcl. v•-.s was probably missed by most of those the vernacular ciro.unstances of play held at the Lincoln Theatre. But more who saw the film. production during the time of Aes, than a half century after his death, the The second movie, "The Life of chylus, Sophocles, and Euripides ap opera premiered in Atlanta, Georgia Scott Joplin," premiered in Washing proximately a hundred years eartierl and received rave revi ews. From At ton, D.C., but was short-lived. The Such being the nature of the crea lanta the opera moved to the nation's reviews were mixed. Some critic; said tive process, the most fundamental capital, and was then followed by per that it was romanticized; others prerequisite for mediating between formances in Houston, Texas. Then, claimed that it was authentic. The the work of art .and the audience, i\S ii to redeem the fiasco held in 1915 movie has since played sporadically spectators, or readers, as the case may at the Lincoln Theatre i.n Harlem, the on television. This particular depic- tion of the life of Scott Joplin leaves early life of Scott Joplin and certain find could shed light on the travels of much in doubt according to present analyses of Joplin rags were written Joplin and help to identify his possible findings, but this is to be expected and published in these journals. As teachers. Recently an artic1e appeared since there are few authentic accounts ragtime continues its legitimacy, it is announcing Julius Weiss as the early as to the whereabouts of Joplin during ho?ed that more will be learned, not piano teacher of Scott Joplin, but its his life time. The composer is known only about the King of Ragtime but conclusions are only prot>able. Some to have traveled extensively in the also about the life and times of other questions still to be resolved are: United States and possibly in Europe, rag composers. \.\-'hat was life like in Sedalia and St. but where and when has been left to Such research about the hey-day of Louis in the latter part of the conjecture. rag time will certainly help to solve nineteenth and early twentieth cen- Together with the fame anJ fo rtune many mysteries. The major m\'stery is tury' How did Joplin fit into thdt life? the re~ting place oi ,he G.i~st o1 Honor. Ho"· did Joplin e'-! u,lte his rearin 6atht'red by the movies, num~rou5 5 scholarly articles -ii nd books we:·e pub M,1, it be found! The work itself could \\'ith playing in the brothels of these li shed in the 1970's about rag time a nd teli'us much about the early composi cities? Is there really a standard mold Scott Joplin, and the 80's promise tional style of Joplin. Perhaps such a for ragtime? more to come. The research studies thus far have either dealt with the musical structure of ragtime or with the life and times of ragtime compos THE MUSIC Of CHAUTAUQUA AND LYCEUM ers. It is interesting to note that some of the frequent discussions of the by Frederick Crane early 70s were: "Will the popularity The University of Iowa last?" ' 'ls ragtime a significant Iowa City, Iowa music?"; and " Will Scott Joplin be considered a significant composer (Ecluc,1 :i1>n,1l , some inspir,1tior,al, th~ ori~in,1! Chautuaqu;i ln,tin. , ,,n 1·, "hi(h !he pl,1tform superintendent so me humorous, some were promot· its earl y years. [n the follt1',·m,.: ~ ~,1r,, took the tent to a new town, where ing a cause. The most famous were numerous groups were formed and the cycle was repeated. William Jennings Bryan, who made became mainstays vi the progr,1:ns of The advan tages o f circuit himself a fortune every summer, the independent and ci rcuit Chautuaqua were very great. The tal often speaking in two different towns Chautuaquas, as well as of the ent could be better, being picked by a day for weeks on end, and Russell Lyceum programs. the bureau to give maximum satisfac Conwell, who gave his inspirational The groups usually comprised from tion. They had uninterrupted jobs for "Acres of Diamonds" over 6000 four to eight men and women, com the summer and could be paid weekly times. monly including a pianist. A few of wages at an agreed-upon rate. And Then there were the readers, of the groups were male quartets. A few the circuits could be designed so that poems, stories, dramatic episodes, doubled on instruments, such as The each town was dose to the next one in and so forth. Plays were popular Southland Jubilee Quartet, a mixed order, and transportation costs and they included much Shakespeare in quartet active around 1914, The travel time could be kept down. The the early 20th century, and mostly Southland Singers, and The Ethio bureau provided a s tandard tent and Broadway luts in the later time when pian Serenaders, both male quartets all the management, so that the local Chautuaqua emphasized entertain active around 1912. committee had a minimum of respon ment more than education. There The programs of the Jubilee Singers sibilities They had only to advertise were magicians and ventriloquists groups were greatly varied. The Old and to sell tickets, and sometimes to Edgar Bergen got his start in Southland Sextette, for example, ac pledge to make up a ny deficit. In Chautuaqua as a te-en-ager around tive around 1910, sang "Plantation 1920, there were reported to be 8581 1920. There were chalk tal ks and Songs, Negro Melodies, Camp Chautuaquas, organized in 93 cir lantern-slide shows, and many com Meetin' Songs, Negro Lullabies, cuits, using 525 tents. 1923 was prob munities had their introduction to Songs of the Old Southland Slavery ably the peak year, with 9 to 10,000 motion pictures in the Chautuaqua Days, Choruses, Quartettes, Trios, assemblies, and an audience of over programs. Duos and Solos." An occasional Coon 35 million. But the musical attractions are my Song appeared on the programs dur From 1924 0111, Chau tuaqua de main subject. These commonly rival ing the time when those infamous clined rapidly. The decline in interest led the speakers as headliners. Before songs were popular with white audi was commonly blamed on the radio, the days of radio and television, ences. The programs were by no the motion pictures, and the au· Chautuaqua and Lyceum provided means limited to black music or tomobile, all of which ended the isola the best opportunity for people out Southern songs, but often included tion of the smaller communities. After side the cities to hear good music. opera and oratorio selections, folk 1929, the depression helped kill the There were those who questioned the music of various parts or the world, business.The last circuit operated in quality of Chautuaqua music. ma.inly classical choral music, and popular 1934, by which time only a few towns highbrows who pointed to the lack of songs of the day (but not induding still had Chautuaqua. the highest-class types-symphony the· Tin Pan Alley types). One I should add just a word about the concerts, classical chamber music, member of the troupe commonly also less glamorous Lrceum. 1rus was the opera in its full form. But these did did readings, and the whole ensemble winter version o. Chautuaqua. M.any appear, at least the popular classics might present skits, sometimes of the same performers continued to Jnd perhaps in excerpts only, so that changing from the usual evening tout right through the faJJ, winter and tht. audience wouldn't be forced to sit dress into "plantation costume." spring, in Lyceum series throughout -~.ough too much of the heavy stuff. As far as I know, the only Jubilee the country, often managed by the Versatility was the rule for Chau Singers group whose singing voices same bureaus that managed the tuaqua performers. Whatever the are preserved in recordings from the Chautuaquas in the summer. Actu s~al character of the group, it sel heyday of Chautuaqua is the Fisk ally, Lyceum was a much older dom remained static through the pro University Jubilee Singers, and it was adult-education movement than gram. If it wa5 a string ensemble plus a male quartet, rather than the usual Chautuaqua, dating back to 1826. piano, it could quite literally double in mixed group, that made records. The Lyceum differed in several respects. bras5, and perform as a brass quartet. Fisk quartet that recorded. foe Victor The event, were .sea ttered throughout And very likely some or all members from about 1909 into the 1920's was a the season, rather than concentrated would sing as well, and one would very distinguished group of men, in- the hotels or eat in the restaurants. If O,autuaqua and Lyceum ,,dS, tc, i.lw ducting the scholar John Wesley Work 1 II and the Rev. James A. Myers, the platform superintendent could best of my knowledge, not yet been whose wife was musical director of not find sympathetic private homes, written. The groups, and the inctivid the quartet for many years. they often were forced to leav_e after uals that made them up, present an The performances of the Jubilee the evening's performance for important subject for research. The Singers were greatly loved by the another town where they could find most urgent task is to seek out the O,autuaqua and Lyceum auctiences. accomodations, or sometimes to sleep surviving performers and record in But the appre<:iation ctid not keep as best they could on railroad-station terviews with them. them from being the object of shame benches. And these were merely the ful indignities. In many northern physical indignities. communities they could not stay in The hbtor~· oi the black groups in

DE.VE.LOPME.NTS IN BLACK GOSPE.L PE.RFORMANCE AND SCHOLARSHIP

by Irene Jackson-Brown, Howard University, Washington, O.C.

Gospel is one of the most vita! of all ginning to incorporate gospel music at the Symphony"; this concert is American musical traditions and and spirituals into their liturgy. A another instance of gospel's use in a stands as a pivotaJ musical style that major effort is underway to achieve non-liturgical context. has influenced other such musical this end, and a hymnal is forthcoming The formation of organizations de genres as jazz, soul, blues, and popu from the Episcopal church which will voted to improving gospel musician lar music. As a musical tradition that include gospels, s pirituals, and ship such as the NationaJ Convention celebrates the contemporary black re hymns that have been popula.t among of Gospel Choirs and Choruses ligious experience, gospel music is blacks (for further discussion see (founded in 1932), the Gospel Music deeply rooted in black life and cul Irene V. Jackson, ''Music and Black Workshop of America, Inc. (founded ture. Episcopalians," The Historical in the late 1960s), and the National The history of gospel music is a his Magazine of the Protestant Episcopal Association of Gospel Quartets, as tory of the struggle to be accepted as Church, March, 1980, pp. 33-35). well as the annuaJ workshops and the black li turgical music. During the During the last three decades, gos classes devoted to the performance of 1920's when gospel had its formal be pel has experienced a period of gospel music sponsored by various ginning, it met with resistance in most phenomenal growth and develop black denominations, perhaps black denominations. However by ment and has moved from use in a foreshadowed the actuall study a..rid the 40's gospel had revolutionized solely liturgical context to use extend performance of gospel music in aca music in most black churches. Signifi ing beyond the worship service. Gos demic institutions. cantly, within the last few years gos pel programs and concerts came into Another notable development in pel music has entered into the litur prominence during the mid-century gospel music history was the fom1a gies of black congrega tions of Roman and are instances of this. Important tion of gospel choirs on black college Catholics, Episcopalians, and Pre developments in the history of gos campuses (Howard University led the sbyterians. In s,everal publications by pel, particularly its nonliturgical use, way in the late 60's) and later on white the National Office for Black include the use of gospel in broadway campuses with black student popula Catholics, This Far by Faith (1977) and musicaJs, such as "Black Nativity," tions. The impact of gosp,el music has Sou/full Worship (1974) by Oarence (1960) "Don't Bother, Me, I Can' t been such that music departments Jos. Rivers, such questions are ad Cope," (Im) and most recently with and Afro-American studies programs dressed as: Is authentic black Catholic the revivilJofVinnette Carroll's "Your have been ca!led into question when a worship either possible or desirable? Arms Too Short To Box With God" gospel choir is not a regular What is black music and what particu (19'76); its performance at such places university-sponsored and often lar music problems do black Catholics as the White House where gospel art credit-offering activity- "Campus face? The possibilities for the incorpo ists James Oeveland, Shirley Caesar, gospel," as I refer to the movement ration of gospel music into the Roman the Howard Gospel O,oir, and The begun in the late sixties, is entering a Catholic liturgy are exemr lified in the Mighty Oouds of Jr,\ nmonned for new phase. Recently [ witnessed a recorcting, " H ymns o a Soulfull members ot Congn:-ss, the Cabinet, performance of Dartmouth Universi People" by Grayson Warren Brown and White House s caif (for further ty's gospel choir which included a with the Howard Gospel O,oir and ctiscussion see Donnie Radcliff and number of white students. The white produced by North American Liturgy Hollie I. West, "For the President, An s tudents identified with the black Resources. Brown who conducts Afternoon of Gospel," Washington students-both groups seemed to choirs and workshops throughout the Post, September 10, 1'179, pp. 81, 89). share in the charismatic movement, United States is committed to bring On September 6, 1'179 the Edwin which is ecumenical Some observers ing the black musical tradition to Hawkins Family Singen performed credit Andre Crouch with this " ec.u Roman Catholic wor.ihip. Blaa ron with the National Symphony Or menical spirit" that is appearing in gregationa of Episcopalians are be- chestra in a program billed as "Gospel Afro-American gospel music, sincr Crouch has a following among wlutt need not recount the reasons for this search direction laid by Ricks. A charismatics. For s everal reasons here. What is important is that schol li ttle-cited thesis was comp leted for the rise of the charismatic movement arly works have managed to appear in Howard University's School of Reli among these---gospel music is pres spite of the narrowness of academic gion in 1968 by Raymond Kelly, ently enjoying a period of popular ap d epartments, academicians, and dis "Gospel Music and Its Use in Three peal which is quite distinct from its ciplines whose focus and interest lie Urban Churches." traditional appeal to black church folk outside the Western European tradi The 70's produced a number of in , s trictly liturgical setting. tion. For the most part music scholars works: Jac~uelinef. Cogdall, "An With an increase in the number of have turned to writings in other disci A_!!fill'.!icru.._;_ tudy IL !h~ Simi anties V ra dio s tations which devo te a portion plines in their need to justify the and Differences in American Black r of their programming day to gospel 1dy of gospel music vis-a-vis doc Spirituals and Gospe l Songs" music and an incr~ase in the number t<1r.:i l committees ,ind the lilc:>n scarce. However, the fol lecturers. This has prir:iarily taken inquiry in courses devoted to black lowing, which have appeared in the place at white institutions, however. music, the black church, and black re last few years, bear mentioning: There must be a concerted effort made ligion. Gospel music must be given Romeo E. Phillips, " White Racism in by black institutions to invite gospel the careful and detailed scrutiny that Black Church Music," Negro History artists to give lectures and concerts some of the other musical genres have Bulletin 36 ( 17973), 17-20; Melvin Wil and to join faculties as artists-in- received. liams, Community in a Black Pentecos- Y ta/ Church (1974); Jgbannes Riedel, / ' Soul Music Black and White (1975);, RETROSPECTIVE: THE BLACK COMPOSERS SERJES Pearl Williams-Jones, "Afro American Gospel Music: A Crystalli by Calvert Bean zation of the Black Aesthetic," Nashville, Tennessu Ethnomusicology 19 (1975), 373-386 and "Performance Style in Black ''The Black Composers Series highlights listed as available, and those were the Gospel Music," in Black People and two centuries of Black symphonic master first releases. While we can be grateful Their Culture (1976); PayJ McIntyre, pieces. Prepared in coUal)(,ration with The for the nine issues, we can only be -Slack Em!e~~ta..l Music. ill Wir!!#~ r Afro-American Music Opportunities chagrined that Columbia Records was (published by National Museum of Association and produced by CBS Rec either unable or unwilling to complete Man, Canadian Center for Folk Cul ords, this series features major American the project as originally planned or ture Studies, 197'6); Morton Marks, and European orchestras with new and exciting soloists, under the baton of Paul even to keep aJJ the original releases in "Uncovering Ritual Structures in Freeman. The first four records in the 1974 print. Afro-American Music," in Religious release will be followed by annual issues The following is a survey of the re Movements in Contemporary America of three to five recording over a period of su Its of the efforts of the Series' prime (1977); Horace C. Boyer, "Contempo approximately five years." movers, Paul Freeman, Artistic Di rary Gospel Music," Black Perspective rector, and Dominique-Rene de in Music, (Spring 1979), S-58; Irene V. That statement appeared on the Lerma, Chief Consultant. ackson, Afro-American ReTigfous album covers of the 1974 releases. The The variety of music, composers, , . usrc: IITT11JirogrilEh!l. a7!_'cf,9tg/.ague of next four issues bear a copyright date and performers to be heard in the nine <;ospel Music.. (.1979); Wyatt ~ of 1975. "These are to be followed by recordings is impressive. Th.ere are 24 ( W..a]ker Somebcdy's Calli11g."Mµ:J.am approximately four volumes per year works by 15 composers, of whom ten (19Z9}; and Richard Smallwood, through 1978, each annual issue of are represented by single works, two "Gospel and Blues," Music Educators which is designed to represent both by two works, two other composers Journal, January 1980, 100-104, among older and newer contributions of by three, and one composer by four. others. Black composers," according to in Composer birthdates range from 1737 Apart from the recordings of gospel formation given with the four 1975 (or 1739) to 1941. One composer lived produced on the popular gospel releases. The plan for the Series, then, entirely in the 18th century, tthe career labels, New World Records offers was around 20 albums released dur of another spanned the classical to "Black and White Urban Hymnody" ing a five-year period. The first eight early romantic eras, and a third was a (NW224); and Columbia has the use records collectively represent a true 19th-century violin virtuoso. The rest ful two-disk, "The Gospel Sound" extension of standard repertoire, and are, roughly, of three generations of (G31~); ABC/Peabock.5' "Perpetual many of the w"rl-s individually are the 20th century. Countries of birth MoOU!nts" (PY-59235); and "At My highly distincti·,~ are in North, Central, and South Appointed Time: Forty Years of A The auspicio1.o:. -~g of the America, Great Britain, and Africa. Capella Gospel" (Stash ST-114} are Series remains just that,. for the actual Volumes 1 and 2 includ.e "older noteworthy. And the Library of Con number of releases is drastically lower contributions_" The first is devoted gress has recently released "Alro than the projected 20. The number is entirely to works by Joseph Boulogne, American Folk Music from Tate and nine. The lonely ninth album bears a the Chevalier de Saint-Georges, Panola Counties, Mississippi" (AFS 1978 copyright date. whose life as not only a serious musi L67), produced by David Evam. As of March, 1S61 none of these cian but also a military officer and bcm nine recordings was listed in the viv11nt could be the basis of a picares 'Editor'• notr. Or. 8umim axnplewd herd» Schwann Catalog, although less than que or floridly romantic novel. Wit!i scrtatlcn in 1980. a year ago OuJy, 1S60) four were still this initial volume the symphonic de,, ignation of the Series is already solo instrumental virtuosity required trombonist Dennis Wick, Violinist, superseded, since .a string quartet and in both works is an obvious common Sanford Allen, and pianists Natalie an operatic scena are included along feature, and both are in the Hinderas and Richard Bunger. Faye with his Symphony No. 1 and Sym mainstream of important musical de Robinson, soprano, and William phonie Concertante for Two Violins velopments of their composers' Brown, tenor, perform in opera and and Orchestra, Op,. 13. This recording lifetimes. oratorio excerpts, and in Requiem by and another-of two violin concertos1 The seventh and eighth volumes Nunes-Garcia Mr. Brown is joined by served to introduce Saint-George's contain orchestral music by six com soprano Doralene Davis, mezzo Sop work to today's audiences. posers. Two of them-Still and rano Betty Allen, and bass-baritone The second release presents two Walker-are represented in earlier re Matti Tuloisela. In his program notes, works each of S.amuel Coleridge leases, and fi\'e are American. The Professor de Lerma strikes a good bal Taylor and William G rant StiU, names sixth, a :--Jigerian tribal .:hiei, lived ance between intormation .about the not regularly encountered in concert much of his life as a busy performer, composer and his work(s) and about programs or on record jackets, if arranger, conductor, arnd composer in the performers. The space limitation sometimes cited in lists of "other'' London. In these releases the sym is one side of a 12-inch record album composers in books on 20th-century phonic medium was expanded to in cover, or a single-page insert into the and/or American music. Vocal solos clude chorus and, in .another, elec jacket printed on one or both sides. with orchestra along with symphonic tronically produced sounds. The lat • • • compositions are included in this rec ter, Olly Wilson's Akwan, is the only The Black Composers Series, even in ording. one to use this resource. severely truncated form, contains a The next two releases in the 1974 The isolated Volume 9 is also sym wide band of artistic activity of several issue represent "newer contribu phonic. It includes three commis generations of composers. The tions." Volume 3 has a m.ajor orchest sioned works, Concerto for Piano by strongest representation is of 20th ral work of Ulysses K.ay, Markings, George Walker (he is the only com century composers, to be su:re, and it and of George Walker, his Concerto poser represented in three volumes), gives the listener, the student, and for Trombone. Volume 4 is devoted an occasional piece, Celebration!, by the performer a broader perspective exclusively to the Panamanian Roque Adolphus Hailstork, and Ritual and on contemporary musical practices. Cordero, the only issue besides Vol Incantations by Hale Smith. The works by Saint-Georges, ume l with works of one composer Two European orchestras were rec Nunes-Garcia, and White demon only. Both works are orchestral orded in 12 performances, 11 by the strate a greater diversity of practice in Concerto for Violin and Eight Minia London Symphony Orchestra and late classic and romantic music than tu res . K.ay, Walker and Cordero are the other by the Helsinki Philhar might be generally realized. 20th-century contemporaries, active monic Orchestra (with Morgan State That not a single volume of the composers of the "middle" genera University Choir of Baltimore). The Series is current, let alone the nine tion. two American orches1tras that rec volumes issued, is a dep·rivation. The broadening of medium beyond orded eight performances are the De Could a campaign to secure reissue of th~ symphonic begun in volume 1 troit and Baltimore Symphony Or these few nine volumes be successful? continues in the four albums of the chestras, in five and three works re We invite comments from in 1975 issue. This may h.ave been the spectively. Soloists with orchestra are terested readers--and listeners. result of economic necessity as much violinists Miriam Fried and Jaime A list of records in the Black Com as of historical or esthetic consid Laredo, as a duo, and Aaron Rosand, posers Series follows. erations, but it would seem to h.ave been in·evitable, and it is certainly Contents of The Black Composer Series welrome. Volume 5, a coUaborative effort by VOLUME 1 (Columbia M-32781) conductor Freem.:in and editor de Saint-Georges, 1737-1799 Lerma, resulted in the first perform Symphony no. 1, op. 11n, in G major (1779), published by Peer-Southern ance in this country of Requiem Mass (New York) by the Brazilian Nunes-Card.a. This is Symphonie concertante for 2 violins, op. 13, in G major (1782), published the only major choral work in the by Frank Music (Boston) Series, full-scale and in the company Scene from "Ernestine" (1777), published by Peer-Southern (New York) of Mozart's liturgical writing. Volume String quartet no. 1, op. 1/1. in C major (1773), published by Peer 6 covers the broadest time span be Southern (New York) tween works of any record in the London Symphony Orchesu--a; l'aul Freeman, conductor; Faye Robin Series. The two works are Jose son, soprano; Miriam Fried, Jaime Laredo, violins; The Jui!liard White's Concerto foe Violin (1864), Quartet. not performed in the United States VOLUME 2 (Columbia M-32782) until 19'74, and David Bak.er's Sonata William Grant Still, 1895-19'78 for VIOioncello and Piano (19'73). The Afro.American symphony (1930), published by Novello (London) What does he know of dreams?, and You're wonderlul, Ma:ry, from "Highway 1, U.S.A-" (1962), unpublished 1Musica1 Heritage Society issu.ed this rec Samuel Coleridge-Taylor, 187S-1912 ording (MHS 3199). ft bears, a 1974 Onaway, awake, ~ed, from "Hiawatha's wedding feast", op. 30/1 copyright date. (18~}, published by Novello (London) I Danse negre, from "African suite", op. 35 (1898), published by Lucl<'s Music Composers Corner (Detroit) London Symphony Orchestra; Paul Freeman, conductor; William by Lucius R. Wyatt Brown, tenor Prairie View A&M University VOLUME 3 (Columbia M-32783) Prairie Vino, Texas Ulysses Kay, 1917- · Markings (1966), published by Duchess Music Corporation {New York) Primous Fountain UI is being hailed George Walker, 1922- by conductors, performers, and re Concerto for trombone (1957), published by General Music Publishing viewers alike as the most promising Corporation (Hastings-on-Hudson) young American composer. Lo ndon Symphony Orchestra; Paul Freeman, conductor: Denis Wick, His ;,ymphonic wo rks .ire b~ing trombone performed b) d number o f major or \'OLU:'1.I E 4 (Columbia \.1 -32784) ,h~str,h , including the Minn~sota Roque Cordero, 1917- Orchestra, the Chicdgo Symphony, Concerto for violin (1962), published by Peer-Southern (New York) the Buffalo Philharmonic, and the San Eight miniatures (1948), published by Peer-Southern (New York) Francisco Symphony, just to mention Detroit Symphony Orchestra; Paul Freeman, conductor; Sanford Allen, a few. Michael Tilson Thomas, Stanis violin law Skrowaczewski, and Gunther VOLUME 5 (Columbia M-33431) Schuller are among the conductors Jose Mauricio Nunes-Garcia, 1767-1830 who have conducted major perform Requiem Mass, M. 185, in D minor (1816), published by Associated Music ances and premieres of his works. Publishers (New York) His ballets have been choreog Doralene Davis, soprano; Betty Allen, mezzo-soprano; William Brown, raphed and performed by Arthur tenor; Matti Tuloisela, bass-baritone; Morgan State University Mitchell for the Dance Theatre of Har Choir; Helsinki Philharmonic Orchestra; Paul Freeman, conduc lem and for the American Dance Fes tor tival in Newport, Rhode Island. VOLUME 6 (Columbia M-33432) This remarkable young composer, Jose Silvestre de los Dolores White, 1839-1918 born in Florida in 1949, grew up in Concerto for violin, F sharp minor (1864), published by Belwin-Mills (New Chicago's tough South Side ghetto. York) He had no musical training until he David N. Baker, 1931- joined the high school band at age 15. Sonata for violoncello and piano (1973), unpublished Within a year he had taught himself London Symphony Orchestra; Paul Freeman, conductor; Aaron harmony, counterpoint, and orchest Rosand, violin; Janos Starker, violoncello; Alain Planes, piano ration and was composing. VOLUME 7 (Columbia (M-33433) Although Fountain has not studied William Grant Still, 1895-1978 formally, he has received assistance in Sahdji (1931), published by Carl Fischer (New York) a variety of ways from several promi-. Fela Sowande, 1905- nent men in music. Three dances from "African suite" (late 1930s), published by Chappell A wards and commissions began to (London) come his way. At the age of 18 he George Walker, 1922- . . . received the Broadcast Music, lnc. Lyric for strings (1941), published by General Music Publishing Corpora Young Composer Award. In 1974, he tion (Hastings-on-Hudson) became the youngest person in his London Symphony Orchestra; Paul Freeman, conductor; Morgan St.ate tory to receive a Fellowship from the University Choir Guggenheim Foundation and, in VOLUME 8 (Columbia M-33434) 1977, received a s econd, which is Olly Wilson, 1937- most rare. In 1973, he received a Akwan, for piano and orchestra (1974), unpublished conµnission for a major work from the T. J. Anderson, 1928- Fromm Music Foundation. The work, Squares (1965), published by Composas Facsimile Edition (New York) Ritual Dances of the Amaks, was pre Talib Rasul Hakim, 1940- miered at the Festival of Contempo Visions of lshwara (1970), unpublished rary Music at Tanglewood, with Baltimore S, n ;-hony Orchestra; Paul Freeman, conductor; Richard Gunther Schuller condu,.!"i-,~. Buns ,.. ..ano However remarkably , · -1reer of VOLUME 9 (Colurnma M-34556) Primous Fountain ill has rouessed, George WaJJc.er, 1922- . . . it is the music that he produces which Concerto for piano (1975), published by General MUStc Publishing Corpo makes it all happen. It is impossible to ration (Hastings-on-Hudson) find a word to describe his music in Adolphus Hailstork, 1941- compositional terms. He synthesizes Celebration! (1975), publisher not identified both traditional and twentieth Hale Smith, 1925- · century practices to produce a true Ritual and incantations (1974), unpubmhed "new" sound. It has been said that Detroit Symphony brd,e,tra,; Paul Free.nan, conductor, Natalie Hin "Fountain takes off where Stravinsky deras, piano

- . finished." It may well be that to the 4.3.3.0, tmp, per, pf, strings (20' Caprice for orchestra (1980) 6' list of great composers, the striking 24") Concerto for Cello and orchestra (1977) name, PRIMOUS FOUNTAIN III, 21' Study Scores (Available for Sale) will be added. Evoltion Quaestionis for soprano and Ritual Dances of the Amaks chamber orchestra (1967) 2' Manifestatior: The Music Exiled for orchestra (19'74) 13' Fort Jesus for orchestra (19'75) 9' Solo The musk: listed In this section Is pub Meditation on a Theme for piano Meditation on a Theme, piano solo (2' lished by Hlndon Publications, a DM (1967) 3' 33") sfon of Hinshaw Music, inc. or inquiries Movement for Orchestra (1967) 2' Ricia, piano solo (7' 42") c o ncerning perusal scores, study Piny i11 Six P<1rt; fo r flute, cl,1:rin.:>t. bas scores, rentals. p erformances. ecc. Ensemble soon, horn, violin ,ind cello ( I ':107) conracc: Donald G. Hinshaw, P.O . Box R,d.1 ior Tno, fo r violin, cello, and 6' 4 70, Chapel Hill, NC 2 7 514. piano (7' 42") Po'em e fo r Wind lnsfrn111e11fs (1978) 9' Movement, for oboe, contra-bass, and Three Pieces for flute, violin ,md piano The preceeding information was piano (1' 36") (1967) 4' reprinted, with permission, from a Th ree Pieces, for flute, violin, and Tragedy for flute (1968) 2' brochure which was prepared and Will for flute, clarinet, horn and piano piano (3' 18") distributed by Hinshaw Music, Inc. Summation, for flute, Bbclarinet, and (1967) 5' The works listed below are available bassoon (1' 6") from Morgan Music, 167 Dudley Will, for flute, Bbdarinet, horn, and Road, Newton Centre, MA 02159. piano (4' 30") Play in Six Parts, for flute, clarinet, bassoon, horn, violin, and cello (5' U") ANNOUNCEMENTS Miniature for Six Players, for flute, trumpet, trombone, violin, cello, The Blue Ridge Institute in Ferrum, ers, string players, wind and percus and piano (1' 40") Virginia has issued two record albums sion players, keyboard players, and of interest to researchers: Non-Blues administrators. Of particular signifi Orchestra Secular Black Music ( BRI-001) and cance are the author's findings on black women and other minorities in [volutio Qu,ustionis Western Piedmont Blues (BRI-003). administrative and supportive roles for sop rano, i.1 .l.1,l.l.1.0, harp, Both issues are in the Institute's Vir and in the American Symphony Or piano, Imp, perc(3), Zvn, l '01, 1 vc, 1 ginia Traditions series and are accom chestra League's Youth Orchestra Di cb, or full strings (2'} panied by illustrated booklets. Orders vision, both surveys covering the Movement for Orchestra may be sent to: BRI Records, Ferrum 1978-79 season. Copies may be ob 2.2.1.0,2.3.4.1, perc (2), tmp, pf, College, Ferrum, Virginia 24~. tained from Scarecrow Press, Inc., strings (2') . . . P.O. Box 656, Metuchen, N .J. 08840. Manifestation ( 3 .2.2.2,4.5.3.1, tmp, perc (3), pf, A new Swedish la.be!, Oanka strings (14' 40") Lanka, has issued the first of a retros . . . Huh (Commissioned by the Gvic Or pective series on black vocal quartets, The Gospel Workshcp of America chestra of Olicago) 3.3.3.2,4.3.3.0, Birmingham Quartet Anthology 1926- is currently in the process of develop tmp, perc, hrp, pf, strings (13' 18") 53. Accompanied by ten pages of ing a facility to house archives, collec· Auxiliary 2• (Commissioned by the notes and complete lyric tran tions, and memorabilia relating to American Wind Symphony Or· scriptions, it is a major contribution to Black Gospel Music. The physical lo chestra) 4.3.4.3,5.5.5.0, perc (4) (5' our knowledge of black gospel music. cation has not yet been decided. For 48") The records may be obtained from more information, contact the work t Ritual Dances of the Amaks (Commis Mr. Doug Seroff, Box 506, Rt. 3, shop ·at 2652 Virginia Park, Detroit, 1 sioned by the Fromm Music Foun Goodlettsville, TN 37072 (Oanka MIS3703. . dation) 3.3.4.2,41.3.3.0, tmp, perc, Lanka 144,001/002). pf, strings [With original 2nd • • • • • • movement] (24' 2") [With new 'J., ' movement] ('ZJ' 9") [1st movem~r' The recent publication of D. An The Houston Grand Opera, David- (7' 18")/0riginal 2nd movement ~.. toinette Handy's Black Women in Gockley, General Director in collab 54j/3rd movement (U' 51") new American Bands and Orchestras is a oration with E L B Artists Enter 2nd movement (7')· significant addition to the history of prises, Earl L. H. Baker, President are Exiled 4.3.3.3,4.3.3.1, tmp, pen:, hrp, black music. This collective biography interested in hearing from Black pf, strings (U1/~') identifies black women participants in Composers who have completed Fort ]till$ 3.3.3.3,4.3.3.0, tmp, pen: permanent and occasional, principal BLACK OPERA scores, and/o. ideas (2), pf, strings (8' U") and ancillary, American bands and· and outlines for BLACK OPERA. Concerto for Cello ,,nd Orchtttr• orchestras. One-hundred and twelve They are especially interested in those (Commissioned lby Anthon Elliott ~es are presented under the head works µsing ethnic subject material, and the Minnesota orlestra) Ulg5 of orchestra and orchestra lead- and music. Request those interested parties send the following informa 5. Senders Name, Address, City, RESEARCH NEWS tion concerning their work(s): and State, Zip Code, Telephone I. Brief Synopsis of the Opera Number with Area Code. David ~ain,_ voice major at Morgan (Plot). This search is being made with the State University, has been invited to 2. Musical Style, and Content. possible view of. a complete produc read his paper, "An oblique introduc 3. Principal Role(s) Voice tion in mind, dependent upon the tion into the music of Africa" at next Categories, indicating if work is feasibility of the work for production. April's conference on Culture and with, or with.out Vocal Ensemble Send all information to: E L 8 Art Communication at Temple Univer (Chorus), and dancers. ists Enterprises, 430 East 72nd Street, sity. In his study, Mr. Bain seeks to 4. If the work is Orchestrated, and New York City, N. Y. 10021, Attn: Ear! determine how musical structure if so, what instrumentation. L. H. Baker, President. conveys a social message.

REPORT FROM ... Rkh.1rd Lee Collier, theory m,1 jor .1t ;-.! organ State University, is prep.iring Howard University for a trip in January to France, Bel gium, the Netherlands and Germany An epoch-making symposium on gos Thomas A. Dorsey, Sallie Martin, James to complete his thesis research on the pel music took place in Ma rch of 1980 at Cleveland, and younger artists Richard Chevalier Meude-Monpas, a most Howard University's Center for Ethnic Smallwood and Robert Fryson (composer obscure composer and writer of Afri Music which is under the aegis of the Col of such gospels as "Gi.ve Yourself to can ancestry from 18th-century lege of Fine Arts. The symposium which Jesus" and "God Is", among others), sev France. included lectures, concerts, and work eral generations in gospel music history . . . shops was the first time that a major, his were represented. Also present were Maxine C. Jones, music education tor.cally black institution turned scholarly scholars such as Horace C. Boyer. a music major at Morgan State University, attention to this important Afro-American theorist, noted for his contributions to will have her 1980 thesis cited in the mu sical genre. The impact of this sym· gospel music scholarship through his forthcoming issue of RILM abstracts po,ium will be far-reaching and will chal thesis, dissertation, anJ several important and a bibliography being issued by lenge indictments leveled against black articles, and Barbara W. Baker whose dis- The Hymn Society of America. Her institutions that they are not seriously 50,rtation. " Black Gospel Music Styles: work is the first scholarly attention

IMPORTANP IMPORTANT* IMPORTANT* Black Music Research Newsletter is available only through paid s ubscription at a rate of $2.00 per year, it is issued twice yearly-in April and October. Members of BMR Associates receive the newsletter as part of their membership benefits. To subscribe to Black Music &starch Newsletter, please send your name and address with a check to the address below. Sorry, we cannot bill. Information on BMR Associates is also available for the asking. Please address your correspond ence to: Fisk Univernty Institute for Research in Black American Music, Box 3, Ask University, Nashville, Tennessee 372(0