Published in Worthies Magazine, January 2006
“One of the most elusive qualities of classical piano ragtime it its grace and charm; perhaps “felicity’ is the word.” Max Morath.
Is it possible to discuss jazz history without mentioning Ragtime? Synonymous with Scott Joplin, Ragtime emerged from various sources including the cakewalk dance music and the early minstrel tunes. Other gifted writers included Tom Turbin and Joseph Lamb. Basically, originally, piano music, using the left hand with precise rhythms and the right released from inhibition conveyed individuality, however, many other instruments can be ‘ragged’.
Ragtime was the first black music to receive commercial popularity across racial lines. Lasting only two decades. It was a revolutionary not evolutionary change in the music world. It came at a time of racial confusion for the nation as a whole and for the African-Americans. “Rags” communicated artistic and intellectual abilities and faced the same exploitation and racism as the race that developed it. In its short time, the form spread from Sedalia, Missouri through the American continent, both sides of the Mason-Dixon Line and Europe. How African-American music moved from rural to urban with the piano as the main instrument is unknown, but it bridged the gap from oral traditions to sophisticated urban forms. The Smithsonian Institution – Division of Performing Arts, believes that a rich body of music preceded ragtime, but there are no recordings and the sheet music of that time is unreliable.
“The greatest mystery of all in the history of ragtime piano, to me, is the period before Scott Joplin that I don’t mean to detract from the great composers of ragtime, God forbid, but their must have been others maybe some people distinguished, but their names are not known too well.” Lu Watters.
Phonograph records were never made of Joplin, Turbin, James Scott and other pioneers, many piano rolls were cut which unfortunately were subjected to editing by the publishers. To hear how they may have sounded, Jelly Roll Morton, Lucky Roberts Eubie Blake among others, are the best sources.
Tom Turbin, in 1896/97 published:”Harlem Rag’ and the term was first used in Fred Stones’ sheet music titled “Ma Ragtime Baby” in 1898. Also in 1898. Joplin published “Original Rags” based on American Negro Folk tunes. Then, in 1899, he wrote the most famous of all tunes named after the Maple Leaf Club in Sedalia, Missouri. The father of Ragtime, Joplin in his short tragic life wrote 504 variable piano pieces.
Besides Maple Leaf Rag, some of his finest pieces came late in his short life. These include “Euphonic Sounds,” “Magnetic Rag, or the concert “Bethena”. With Scott Joplin’s death in 1917, classical ragtime piano jazz disappeared and exploitation, over-commercialization occurred with the emergence of Tin Pin Alley. The editor of Code, John Norris wrote in December 1971, ”The original exponents were black musicians and their special qualities helped make the music unique. When the music passed into the hands of the general population it changed considerably. The subtlety…. was replaced by glorified jollity”
The music culture of that time has to be understood. The piano was main source of entertainment for the white middle class. There were no phonographs and sheet music being widely available at a cheap price was easily comprehended on the home piano. How Maple Leaf Rag, which quickly sold over a million copies, influenced piano sales through class and racial barriers is unknown, but it must have been large. The music was played is saloons, houses of ill repute, as well as in the home. It also survived racist undertones and perverted innuendoes to become a major art form. With the invention of the piano rolls home music became more accessible. Learning the score was not a necessity. The phonographs mass production later added to its commercial success and familiarity with the growing white middle class.
With overnight success, Joplin was faced with a double edge sword – to succeed continuously, working as an outcast and under his own personal pressure to be viewed as a classical musician. By 1920, dead of syphilis and despair – especially over the commercial failure of the opera “Treemonisha”, – classic ‘Rag” has ceased. Treemonisha contained chorus sequences, solo songs and dance. In brief, it is a complex ‘opera’ and Joplin’s genius is apparent. However, mass production of the music continued, going hand in hand with commercialization and Tin Pan Alley’s search for profits.
There were many revivals in the 40’s, 50’s and 70’s, especially with successful revivals such as Lu Watters and the popularity of the movie ‘The Sting’. It continues to be a major form of art but underscored by the continual evolution of jazz as a whole. You can’t talk about jazz without rhythm, and you can’t talk about without ragtime, and you can’t talk about ragtime without Scott Joplin – a classical musician.
Side bar. The fifteen classic rags included in Samuel B. Charters “Red Backed Book of Rags”(1912) – the first of instrumental transcriptions for small ensembles includes:
Maple Leaf Rag Scott Joplin
The Cascades Scott Joplin
The Easy Winners Scott Joplin
The Ragtime Dance Scott Joplin
The Chrysanthemum Scott Joplin
African Pas M. Kirwin
Ophelia Rag James Scott
Hilarity Rag James Scott
The Minstrel Man J.R. Robinson
Frog Legs Rag James Scott
Sensation James Scott
Kinklets Arthur Marshall
Grace and Beauty James Scott
Sunflower Slow Drag Joplin-Hayden
The Entertainer Scott Joplin
Happenings!! – – The New Rochelle Public Library is featuring The Sean Smith Quartet in a Jazz Concert on Sunday, January 15th, 2006, in the Ossie Davis Theater starring the Sean Smith Quartet. Sean Smith’s Song for the Geese was recorded by Mark Murphy as the title track of his CD, which was nominated for a 1998 Grammy. A $2.00 donation is suggested.
-Bronx born Grammy nominee Dave Valentin will be at the Little theater Saturday, March 19, 2006.
-The Village Vanguard will have The Jeff “Tain “ Watts Show, The Paul Motian Band and the Joe Wilder Quartet in late January. In February, appearing will be The Barry Harris Trio Fred Hersch and others. Monday nights are reserved for the Vanguard Jazz Orchestra.
-The Purchase Latin Jazz Orchestra will be appearing at the Performing Arts Center at Purchase College on April 5th and May 3rd.
Don’t forget to listen to Mike Macagnone’s Jazz Program – Air-Worthies, Wednesdays noon to 1:00pm on WVOX 1430 AM. streaming on www.wvox.com.
Movie Trivia for Jan. 06: Can you name Rick’s last name in Casablanca?
Hint: It’s mentioned only once by the German office
Answer: Blaine.
Glenn Slaby Blog