King of Ragtime: Scott Joplin and His Era [Paperback] Review

My review in two words: BUY IT.
This book is probably as thorough of a study into the life of Scott Joplin as is possible.Edward Berlin has obviously exhausted every resource available to him, and throughout, the book is well-noted - that is to say he gives credit to probably 99.9% of the sources of his information in the section for notes.Berlin has went through census records, newspapers, other books on ragtime, interviews with/statements given by numerous people affiliated with Scott Joplin and countless other sources for this book.This book is 99.9% true, solid facts; he seldom states a personal opinion, and when he does, it is made blatantly clear that that is what he is doing.This book also includes a listing of the complete known works of Scott Joplin, and the sheet music for the three songs "Good-bye Old Gal Good-bye", "Snoring Sampson" and "Lovin' Babe".(I would like to say in response to someone else's review that it is very difficult for me to see how the biography of a *musician* can be "interrupted" with music scores.)

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Ragtime: An Encyclopedia, Discography, and Sheetography [Hardcover] Review

What is Ragtime? David A. Jasen gives the definitive musical definition as well as the history of Ragtime from it's beginning to the present day in his latest book "Ragtime An Encyclopedia, Discography, and Sheetography" published by Routledge. It's 550 pages, hardcover, 8 ½" X 11".

Jasen describes in detail the categories of Ragtime. From the Early Folk Rags, The Joplin Tradition or Classic Ragtime, Popular Ragtime, Advanced Ragtime, Novelty Ragtime, Stride Ragtime, and Jelly Roll Morton's Ragtime. Ragtime's original heyday as well as its Revivals are covered up to the present day.

The book is divided into 4 primary sections. The first section contains the Encyclopedia entries. You can look up Composer, Performer, and Publisher Profiles, Ragtime Compositions with musical descriptions and other interesting related facts. There are over 100 images of rare photos and artifacts from the Ragtime era. Including a signed contract between Scott Joplin and his publisher John Stark for his landmark composition "The Maple Leaf Rag". There are images of Sheet Music, Record and Piano Roll Labels, Period Advertising, Composers, Performers, and Places of historical interest.

As a serious collector of Ragtime Sheet Music, Piano Rolls and Records, I really appreciate the next three sections of the book. The perennial question for the collector is "What's out there to collect?"For the performer it might be "What tune can I perform that nobody else has done or may even know about?" Stamp collectors have their Scott's Catalog to see what's possible to collect. We Ragtimers have a Discography, Ragtime Piano Rollography, and Sheetography, thanks to Professor Jasen, the first to have published them. I check off the items I own, and then I can see the items I need.

Appendix 1Rags On Record: A Discography

"The intention of this discography is to identify all commercially released discs of 78s, 45s, and LPs throughout the world since the beginning of Ragtime recording in 1897." The discography lists the Compositions alphabetically with the Composer, followed by Performers, Record Speeds, Record Companies and Number, and Year of release.

Appendix 2Ragtime Piano Rollography

There are Ragtime Compositions that were never published in sheet music form, or recorded on disc, as you will note from the entries in the encyclopedia. However, some compositions do turn up on Piano Roll. Some of the performances are truly extraordinary. The Rollography lists the Compositions with Composers alphabetically, then the Roll Companies and Number. If the roll is an early 65-note type it's indicated. The performer is listed if the roll is hand played.

Appendix 3Published Rags In America

There's an alphabetical list of over 2000 Published Instrumental Ragtime compositions. It lists the Composition followed by the Composer, Date, Publisher, City and State of Publication.

David A Jasen is internationally recognized as a leading authority and collector of American Popular Music. He's authored many well-received reference books on Ragtime, Early Jazz and Popular Music. He produced many sheet music folios and Records. As a Composer and Performer, The Professor captures the true essence of Ragtime. He is Professor of Media Arts at the C.W. Post campus of Long Island University, where he has been teaching for the past 35 years.

Joel@sheetmusiccenter.com
www.sheetmusiccenter.com

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Product Description:

Ragtime: An Encyclopedia, Discography, and Sheetography is the definitive reference work for this important popular form of music that flourished from the 1890s through the 1920s, and was one of the key predecessors of jazz. It collects for the first time entries on all the important composers and performers, and descriptions of their works; a complete listing of all known published ragtime compositions, even those self-published and known only in single copies; and a complete discography from the cylinder era to today. It also represents the culmination of a lifetime's research for its author, considered to be the foremost scholar of ragtime and early 20^th century popular music.Rare photographs accompany most entries, taken from the original sheets, newspapers, and other archival sources. Ragtime: An Encyclopedia, Discography, and Sheetography will be a standard reference for anyone interested in the history of jazz.

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Classic Piano Rags [Paperback] Review

There are a fair number of books on the market with ragtime sheet music in them.This is the one I've used the most over the years, since despite its quirks it's the best way of getting a hold of a generous amount of period ragtime, in unedited form.
About that "unedited form".The book photographically reproduces the original sheet music verbatim.This has its downside: the original music companies printed things in a quick'n'dirty manner, & while the sheet music from Stark (Joplin, Lamb, Scott, &c) is usually well-presented & carefully set, some of the other music is sprinkled with errors & eccentricities, especially the tunes by Charles Hunter.However, I'd rather have the typos--easily fixed--than have some meddling editor tidy up the text.Editions of these tunes by people like Max Morath tend to have a fair bit of editorial interference, & I'd much rather see what the tunes looked like without that kind of filtering.
Dover also prides itself on historically accurate reprints.This means that you get the original cover art.....which is as you'd imagine often pretty offensive by modern standards in its depiction of African-Americans.Still, it's just as well to be reminded of the historical conditions of this music's creation and dissemination. -- What's more irritating & less justifiable about the decision to include cover art is that it completely throws off the pagination.Since each piece is typically 4 pages long, adding the cover art makes for 5 pages--so that every second piece has its page turns in exactly the wrong place.This isn't a minor quibble: often the page turns are as a result placed in the middle of repeats, at key moments in the score, &c.Dover ought to have added some blank pages to keep the rectos & versos in the right sequence.
Anyway, enough caviling.What you get is an enormous pile of Joplin--nice, but that's easily enough available elsewhere.But you get a huge selection of work by most of the other really interesting figures of the period.I think Blesh's concept of "Classic Ragtime" is a crock, an attempt to make polemical distinctions between high art & popular trash in a genre where such distinctions are hard to make.& what does the idiosyncratic, rather naive music of Charles Hunter have to do with the sophisticated creations of Joplin or Artie Matthews anyway?Anyway, it's great to have all this stuff here--pieces by Robert Hampson, Hunter, Charles L Johnson, Joplin, Joe Jordan, Joe Lamb, Arthur Marshall, Matthews, Scott, Charles Thompson, Tom Turpin, Percy Wenrich, Clarence Woods.I've spent years working through the book.
Fans of this book, by the way, should check out Trebor Tichenor's two volumes of ragtime rarities for Dover--these include some terribly obscure stuff along with lesser-known Scott & Lamb pieces, & is very much worth exploring if you're curious about the genre.

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Product Description:
Best ragtime music (1897-1922) by the greatest ragtime composers of the age: Scott Joplin, James Scott, Joseph Lamb, Tom Turpin, nine more. Definitive collection for lovers and performers of ragtime.


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Stomp and Swerve: American Music Gets Hot, 1843-1924 [Paperback] Review

This book was a real disappointment, particularly because it covers some important ground and has, occasionally, some flashes of insight. But it is plagued by such major flaws that I cannot recommend it. The basic premise is outrageously reductive and simplistic, and the author uses this flawed approach as a means to pass judgment sweepingly on all sorts of music and musicians. Underlying his entire argument is the notion that black music and musicians properly belong to the "Underworld," and that anytime they display associations with "Topworld" white mainstream America, it is some kind of artistic and cultural travesty. Like so many of the late 19th and early 20th century figures he derides, this author wants his black musicians to be musically "black," and denigrates anybody and anything else that stands in the way of his offensive viewpoint.

The book is also plagued by flat-out misinformation (William Shakespeare Hays was black, really??), faulty reasoning, shoddy research, cheap shots left and right, and the most annoying, smart-alecky, and off-putting writing style I think I've ever encountered in a non-fiction book. The author uses profanity as if he earns points for slipping it in at every opportunity. Clearly he thinks by doing so he connects himself to the "underworld" characters he so romanticizes. The result, though, is simply obnoxious. His desire to be smugly hip becomes downright offensive at times. After pointing out Irene Castle's frustration at having to work with the "Topworld" music direction of John Philip Sousa instead of her previous bandleader James Reese Europe, the author concludes that "once you've had black, you never go back."

If you want to read a freewheeling and irreverent dissertation on similar subject matter, check out Nick Tosches's "Where Dead Voices Gather," an infinitely better and more rewarding book. For a level-headed, scholarly, and brilliant account of this material, read Tim Brooks's excellent "Lost Sounds."

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Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz" [Paperback] Review

This is one of the rare books for it can be enjoyed by just about anyone who picks it up.Its the amazing account of the life of Jelly Roll Morton, one of the best jazz pianists of all time.Though a braggart and troubled man, he created some of the very best pieces of jazz.The book goes into his life from his childhood and his time working at Storyville to the very troubled end in the early forties.You learn about his family, his troubled relationships with Anita and Mabel and how he went from being wildly successful to dying virtually forgotten.Voodoo, New Orleans, jazz and Creole culture, its all here.
Written with flair and never boring, Mr. Jelly Roll is a book that you will read more than once.Its a look at a legend and a glimpse into a world we can only know of through books and music.Get this if you want a good read and a look at Mr. Morton's life.A true classic.

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Product Description:
When it appeared in 1950, this biography of Ferdinand "Jelly Roll" Morton became an instant classic of jazz literature. Now back in print and updated with a new afterword by Lawrence Gushee, Mister Jelly Roll will enchant a new generation of readers with the fascinating story of one of the world's most influential composers of jazz. Jelly Roll's voice spins out his life in something close to song, each sentence rich with the sound and atmosphere of the period in which Morton, and jazz, exploded on the American and international scene. This edition includes scores of Jelly Roll's own arrangements, a discography and an updated bibliography, a chronology of his compositions, a new genealogical tree of Jelly Roll's forebears, and Alan Lomax's preface from the hard-to-find 1993 edition of this classic work. Lawrence Gushee's afterword provides new factual information and reasserts the importance of this work of African American biography to the study of jazz and American culture.

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Scott Joplin Collected Piano Works: Rags, Waltzes, Marches (Belwin Edition) [Sheet music] Review

This wonderful collection of the piano music of Scott Joplin (1867 - 1917) was originally published by the New York Public Library in 1971 and edited by Vera Brodsky Lawrence.With additions in 1981,the book includes the score for virtually all of Joplin's solo piano works, including 41 "original works",7 "collaborative works",3 "miscellaneous works", and 3 additional rags added to the volume in 1981 when permission was secured from the holder of the copyright.I have had this volume for many years and continue to study and learn from it, in playing familiar works and learning new pieces.The volume is an endless source of delight and inspiration.

Born in east Texas to a father who had been a former slave and to a free black mother, Joplin showed musical talent at an early age and received free piano lessons oriented towards classical music from a local white teacher who recognized his talent.At 14, Joplin left home and assumed a wandering life in hopes of furthering his dream to become a composer and musician. He ultimately settled in St. Louis and Sedalia, Missouri where he began to compose the ragtime that would make him famous.Late in life Joplin moved to New York City where he continued to compose ragtime while spending most of his energy on his opera "Treemonisha."His music was in danger of being forgotten until interest revived in the early 1970s through the use of his music in the movie, "The Sting", the revival of "Treemonisha" and the publication of this volume of his music.

This volume includes familiar and unfamiliar Joplin. The most familiar of his ragtime works are the "Maple Leaf Rag" (1897) and "The Entertainer" (1902) which became famous when used in "The Sting."Among the other rags I have enjoyed and learned to play over the years are "Elite Syncopations" (1902), "Weeping Willow Rag" (1903) , "Pine Apple Rag" (1908), "Wall Street Rag" (1909), and several others.Joplin also combined with friends and students in writing some pieces, including "Heliotrope Bouquet" (1907) with the gifted but troubled Louis Chauvin and "Swipesy" (1900) which Joplin wrote with his young student, Arthur Marshall.Joplin also wrote beautiful waltzes, including "Bethena" (1905) and "Binks Waltz" (1905). He also wrote a tango called "Solace" (1909).

Joplin's musicis varied, strongly syncopated, and melodious.Joplin tried to combine African American and classical music idioms to help create a distinctively American music.This is an elusive goal that has been pursued by many other composers.His piano music is not easy to play but is generally within the reach of determined amateurs, such as myself.Joplin wrote a set of exercises, the "School of Ragtime" (1908) to help aspiring pianists learn the skills needed to play his music.Joplin also said regarding his works:

"That real ragtime of the higher class is rather difficult to play is rather a painful truth which most pianists have discovered. Syncopations are no indications of light and trashy music, and to shy bricks at `hateful ragtime' no longer passes for musical culture."

In addition to the musical scores, this book includes a lengthy introduction "Scott Joplin: Black-American Classicist" by ragtime scholar Rudy Blesh which offers an excellent overview of the composer's life and music and of performance practices. Over the years, I have played Joplin for my own enjoyment, for friends, and at various venues on a volunteer basis. When I play for others, I generally combine classical works, with a performance of Joplin's "Bethena" together with some of the ragtime works.I find that Joplin's music is almost invariably the best-received of the works I perform by both knowledgeable and less-knowledgeable audiences.

Scott Joplin remains an American treasure. As Joplin wished, his music breaks down claimed musical boundaries between classical and popular.This volume will bring joy to lovers of the piano and to serious pianists, whether amateur or professional.

Robin Friedman

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Product Description:
In addition to the 54 original and collaborative works presented in this impressive volume, Scott Joplin: The Collected Piano Works includes 34 pages of scholarly insight and history that help the pianist determine performance practices and authentically reproduce the sound and style Joplin intended. With editions of 19 publishers reproduced in this volume, a colorful variety of music typefaces and printing styles is offered. Together with the evocative original cover designs, they present a vivid panorama of the Ragtime Era. Because study of the original publications has revealed great numbers of errata of various kinds, and since this edition is primarily intended for study and performance, the editors have incorporated corrections into the facsimile pages rather than perpetuate original errors for antiquarian interest.

Titles include: Maple Leaf Rag
* The Entertainer
* The Chrysanthemum
* Rosebud
* Eugenia
* Gladiolus Rag
* Wall Street Rag
* Solace
* Paragon Rag
* Lily Queen
* Heliotrope Bouquet
* Kismet Rag
* School of Ragtime
* Swan Rag
* Treemonisha and more.

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Zez Confrey Piano Solos Ragtime, Novelty, and Jazz [Paperback] Review

This particular music book is out of print.My son has been checking this out of the library for a few years now, because to buy it was out of our budget.I think he was the only person checking it out.Finally, we were able to buy it for his birthday.
Zez Confrey was a master ragtime, and all around composer, and this is the most complete collection we have found.When my son played "Kitten on the Keys" for a ragtime jam session, the crowd cheered!I wish that a new edition of this book would be issued, but until then, so happy to have nabbed this one.

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