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Scanned from the collections of The Library of Congress Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www . I oc . g ov/rr/reco rd I A S C H RECORDS J?<zte5t faff ?2eUa.5e5 N E W MEADE "LUX" LEWIS ALBUM NO. 352 352-1 BOOGIE TIDAL YANCEY'S PRIDE 352-2 GLEN DALE GLIDE DENAPAS PARADE 352-3 RAN DINTS BOOGIE LUX'S BOOGIE Supervised by Charles Edward Smith These remarkable piano solos of Meade "Lux" Lewis, "King of the Boogie Woogie," suggest the influence of the past four years he spent in California. Musically they are impeccable, but more than that, they contain a wealth of rhythmic and melodic ideas. They're solid and in the groove from beginning to end. for Complete Catalogue (including) Album No. 452 ART TATUM TRIO 2—12" records 351 MARY LOU WILLAMS TRIO 3—10" records 353 STUFF SMITH TRIO 3—10" records 55! JAMES P. JOHNSON & ORCHESTRA, N. Y. JAZZ 3—12" records 350 JAZZ VARIATONS 4—10" records 450 MARY LOU WILLIAMS & HER FIVE 3—12" records 348 JOSH WHITE 3—10" records SIGNATURE Album No. I FATS WALLER MEMORIAL 4—10" records (available at all stores) WRITE TO STINSON TRADING COMPANY 27 Union Square West, New York City copyright, 1945, Gordon Gullicltson. : ; VVU\ if From Minstrelsy to Jazz Chapter Nine of the Anthropology of Jazz by Ernest Borneman The story of jazz in America is the with it, night and day ; sentimental young- story of the American Negro's emancipa- ladies sing it ; sentimental young gentle- tion from slavery. The most important men warble it at midnight serenades steps of this cultural and political de- volatile young bucks hum it in the midst velopment are reflected with extra- of their business and their pleasure ; boat- ordinary accuracy in the development of men roar it out stentoriously at all times A fro- American music from minstrelsy to all the bands play it ; amateur flute play- ragtime. ers agonize over it at every spare mo- Minstrelsy, as we are using the term, ment; the street organs grind it out at does not begin with Daddy Rice and Dan every hour ; the 'Singing Stars' carol it Emmett but with the very recognition of on the theatrical boards and at concerts the Negro as a contributor to the music the chamber maid sweeps and dusts to of America. In 1782 Aird's "Selection of the measured cadence . the butcher's Scottish, English, Irish and Foreign boy treats you to a strain or two of it as Airs" published a Negro Jig in the very he mixes it up strangely with the harsh same edition which contained the first ding-dong accompaniment of his tireless ." printing of the Yankee Doodle. In 1784 bell . in short, here we had the be- Thomas Jefferson in his "Notes on Vir- ginning of the modern wave of Tin Pan ginia" spoke for the first time of the Alley hit tunes. 'ural musical talents" of the Negro Out of this mid-nineteenth century ^c.es. Fifteen years later, in 1799, the vogue of "Negro Melodies" and "Coon acknowledgment bore fruit in the first Songs," there grew the ragtime era Minstrel Show. which culminated at the turn of the cen- This most characteristic of all early tury and merged thereafter almost im- American forms of showmanship was, perceptibly into the jazz era. The precise like so many other Americanisms, in- dates and borderlines separating these vented by a European. Johann Christian consecutive stages of Afro-American Gottlieb Graupner, born in German Han- music from each other are, of course, as over on October 6, 1767, came to England vague and arbitrary as, say, the border- with Haydn's orchestra in 1791 and went line separating the jazz era of the nine- on to America in 1795. On December 30, teen 'twenties from the swing era of the 1799, at the Federal Street Theatre, in the 'forties. Jazz survives in today's swing most American city of Boston, at the end music as ragtime survived in jazz. What of the second act of Oroonoko, Graupner, separates these musical idioms from each dressed and painted as a Negro, sang The other is their social and political back- Gay Negro Boy to his own accompani- ground rather than their structural pat- ment and started in this peculiar manner tern, and it is the minstrel show in par- what was to become the most popular ticular which reflects this background American entertainment for half a cen- with unfailing accuracy. tury to come. Five consecutive stages of the Negro's In 1830 Thomas "Daddy" Rice sang cultural and political development are Jim Crow in Pittsburgh and in 1843 the most clearly recognizable in the chang- Virginia Minstrels started the racket at ing attitude of the minstrel show towards full blast, followed by Dan Emmett, its protagonist. In its first stage, which Frank Brower, Dick Pelham, Billy Wit- might be dated from the time of the Stamp lock, H. C. Work, Stephen Foster, L. V. Act, the Negro was treated mainly as a H. Crosby, James Power, John Power, F. barbarous, comic and somewhat childish S. Pike, F. Lynch, J. H. Burdett, E. P. figure. This was the natural attitude of a Christy, and all the others. society resting securely on the benefits of By 1852, the popularity of minstrelsy slavery, unchallenged by moral and had reached such proportions that the economic opposition and thus amicably staid Albany State Register was forced paternal in its attitude to the "good to come out with this piece of badinage nigger" who took his fate as God's will. • • . The last Negro melody is on every- The development of this attitude was ( body's tongue, and consequently in every- clearly reflected in Tea's Negro Dance of body's mouth. Pianos and guitars groan 1767, Hallam's Mango in BickerstafTe's 3 COMMODORE decent IQeLea6e6 (10-INCH RECORDS—$1.00 PLUS TAX) 554—EDDIE HEYWOOD AND HIS ORCHESTRA T'AINT ME SAVE YOUR SORROW Eddie Heywood, piano; "Doc" Cheatham, trumpet; Vic Dickenson, trombone; Lem Davis, alto sax; Al Lucas, bass; Jack Parker, drums. 555—KANSAS CITY SIX I SOT RHYTHM JO JO Lester Young, tenor sax; Dickey Wells, trombone; Bill Coleman, trumpet; Joe Bushkin, piano; John Simmons, bass; Joe Jones, drums. 556—GEORGE BRUNIS AND HIS JAZZ BAND TIN ROOF BLUES ROYAL GARDEN BLUES George Brunis, trombone; "Wild Bill" Davison, trumpet; Pee Wee Russell, clarinet; Eddie Condon, guitar; Gene Schroeder, piano; Bob Casey, bass; George Wettling, drums. (12-Inch Records—$1.50 Plus Tax) 1518—MIFF MOLE AND HIS NICKSIELAND BAND ST. LOUIS BLUES PEG O' MY HEART Miff Mole, trombone; Bobby Hackett, trumpet; Pee Wee Russell, clarinet; Ernie Caceres, baritone sax; Eddie Condon, guitar; Gene Schroeder, piano; Bob Casey, bass; Joe Grauso, "drums. 1519—MUGGSY SPANIER AND HIS RAGTIMERS MEMPHIS BLUES SWEET SUE, JUST YOU Muggsy Spanier, cornet; Pee Wee Russell, clarinet; Miff Mole, trombone; "Boomie" Richman, tenor sax; Eddie Condon, guitar; Gene Schroeder, piano; Bob Haggart, bass; George Wettling, drums. COMMODORE MUSIC SO0P 136 East 42nd Street, Call MUrray Hill 2-7967, New York City 4 "Padlock" of 1768, Fan Tan in Bur- Bland, Gussie L. Davis, Samuel Lucas, goyne's "Boston Blockade" of 1775, Wags Sydney Perrin, Scott Joplin, Tom Tur- in 1790, Kickaraboo in 1795, Negro pin, Irving Jones, Ernest Hogan, Shelton Philosophy in 1796, A New Negro Song Brooks, John Black, W. C. Handy, Clar- in 1797, Negro and Buckra Man in 1811 ence Williams, Jim Europe, Will Marion and the Bonj'a Song of 1813. Cook, Walker and Williams, Cole and The second stage began around 1787, Johnson, Sissle and Blake. when the abolitionist movement started to Ragtime, in its widest, meaning, of question slavery's moral status. Almost "ragged time," i. e., syncopation, was the immediately the minstrel stage turned to defining mark of Negro progress within the Negro with a new attitude of pity this movement. Melodically and harmon- and compassion. Thus the Negro begins ically, minstrelsy was a white man's art. to emerge as a tragic figure in George Only the performer, not the composer, Colman's Inkle and Yarioo of 1787, and marked early minstrelsy as an African this development continues with Pity for departure—in its vocal timbre and vibrato Poor Africans in 1788, The African dur- and in the peculiar enunciation of Negro ing the same year, The Negro Boy in speech. Not until the advent of ragtime 1792, The Desponding Negro in 1793, did minstrels)' show any African influ- On Slavery published in 1797, Paul and ence on the composer's part. Virginia in 1800, The Dying Negro in James Bland's songs, like Stephen Fos- 1809 and the Negro Lament for Munqo ter's and Dan Emmett's, showed very Park in 1827. little use of Negro folk themes. Sydney With the Victory of Plattsburg, a third Perrin's songs resembled Bland's when stage of development begins. The Negro they made their first appearance on the ceases to exist as a figure of fun or of minstrel stage. His Mammy's Little compassion and begins to emerge as a Pumpkin Colored Coons, for instance, patriotic character. In 1814, Micah Haw- showed no syncopation when it was first kin's Siege of Albany sets the stage for published in 1897, but within one year it this new attitude. During the next year, re-appeared as part of Ragtown Rags, a 1815, The Guinea Boy takes up the same medley of "Coon Song Hits," and this trend, and this is followed in 1823 by time the tune had been transferred into The Tailor in Distress, in 1824 by The out-and-out ragtime.