From Ragtime to Jazz, Vol. 4: 1896-1922 [Explicit Lyrics]

Editorial Reviews

All Music Guide - Arwulf Arwulf
The fourth volume in Timeless Historical's From Ragtime to Jazz series dips back earlier than any of the previous entries, tracing a chronological time line from 1922 all the way back to 1896. Any thorough and unflinchingly honest retrospective that delves into this realm is going to be peppered -- as this one is -- with titles and themes that seem racist today but were extremely common during a time when both the U.S. and English entertainment industries were being founded upon a seething mass of ethnic stereotypes. This collection is loaded with examples from both sides of the Atlantic bearing titles that are indelibly etched upon our collective cultural subconscious, ...
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Editorial Reviews

All Music Guide - Arwulf Arwulf
The fourth volume in Timeless Historical's From Ragtime to Jazz series dips back earlier than any of the previous entries, tracing a chronological time line from 1922 all the way back to 1896. Any thorough and unflinchingly honest retrospective that delves into this realm is going to be peppered -- as this one is -- with titles and themes that seem racist today but were extremely common during a time when both the U.S. and English entertainment industries were being founded upon a seething mass of ethnic stereotypes. This collection is loaded with examples from both sides of the Atlantic bearing titles that are indelibly etched upon our collective cultural subconscious, like it or not. Recorded in London in early 1912, Joseph Batten's piano solo "The Nigger's Hop" is a logical exponent of British society, as the offensive word in question was invented by the English and circulated throughout the world via their empire on which the sun never set. "The Land of Cotton" a plaintive ode played and sung by the Hedges Brothers & Jacobson and "Cotton Blossoms" performed by Kendle's First Regiment Band are examples of a tendency for early 20th century songwriters to romanticize life among slaves and sharecroppers in the old-time Southern United States. Instrumentally speaking, nothing fit this kind of thematic better than the banjo, and to some extent banjo players ride shotgun through this collection. Maurice Levi's "An Ethiopian Mardi Gras" was recorded in New York on January 8, 1900, by banjoist Vess L. Ossman, and "All Coons Look Alike to Me" and "Bye, Bye Ma Honey" were waxed in London in 1902 by banjoist Edgar Cantrell and mandolinist Richard Williams, who were often billed as "the Ragtime Duo." "Darkys Patrol" is credited to banjoist Steve Clemens and a medley of "Coon Songs" to banjoist Olly Oakley, also known as James Sharpe. In December 1913, banjo master Fred Van Eps made a fine recording of "The Junk Man Rag Medley," based on a theme by Harlem stride piano legend Luckey Roberts. There is also an invigorating pass at Abe Holzmann's "Smokey Mokes" by banjoist Charlie Rogers, and a spirited rendition of Sadie Koninsky's "Eli Greens Cakewalk" played by the banjo duo of Joseph Cullen and William P. Collins. In and amongst this veritable swarm of percolating banjos are woven thrilling examples of what constituted popular entertainment during the first two decades of the 20th century. "Peaceful Henry," a slow drag by E. Harry Kelly, was presented by the Columbia Orchestra in 1903; about three years later the ragtime two-step "Razzazza Mazzazza" emerged as one of the Arthur Pryor Band's most popular achievements. "Oh, That Ragged Rag" is heard in a punchy "oompah" arrangement used by the London Orchestra, and U.S. vaudeville star Bert Williams sings "Play That Barbershop Chord." "Bregeiro" a Rio Brazilian maxixe was recorded in 1914 by Joan Sawyer's Persian Garden Orchestra, and "I Can Dance with Everybody Except My Wife" by Ciro's Club Coon Orchestra in 1916. Both ensembles operated in London under the direction of Jamaican pianist Dan Kildare, an associate of James Reese Europe. The closing tracks of this intriguing collection invoke the post-WWI ragtime-to-jazz progression with a cluster of exciting and hitherto difficult to find recordings. "Cute Little Wigglin' Dance" was done up by the Frisco Jazz Band in New York City in August 1917. Henry W. Ragas' "Bluin' the Blues," familiar to early jazz lovers as one of the very best instrumentals ever introduced by the Original Dixieland Jazz Band, is presented here by Al Bernard & the Kansas Jazz Boys in a rare vocal version from 1919 using lyrics by Sidney Mitchell. Recorded a few months later in London, "What Do You Mean by Loving Somebody Else When Your Love Belongs to Me?" is a parlor instrumental by the Versatile Four. Most of their recorded works, like those of Dan Kildare, were reissued by Document in the 1990s. "Dreaming Blues" dates from 1920 and is a terrific example of early jazz played by a group under the direction of saxophonist Joseph Samuels. Also from 1920, "When My Baby Smiles at Me" is credited to Art Hickman's New York London Five, and employs the conspicuous laughing trombone effects soon to be made notorious by people like Paul Whiteman and Ted Lewis. The year 1921 is represented by pianist Frank Banta's Gennett recording of Ted Snyder's "Wild Cherry Rag" and "What Could Be Sweeter Dear" as delivered by James A. Murray's eight-piece Colored Syncopated Harmony Kings. This amazing collection closes with a snappy reading of "Tiger Rag" recorded for the Black Swan label in Long Island City during the summer of 1922 by Ethel Waters' Jazz Masters. Waters, like Mamie Smith, was smart enough to put out a number of records bearing her name but featuring only her accompanying musicians. The instrumentalists in this case were cornetist Joe Smith who fronted the group as Joe Smith's Jazz Masters and is usually remembered as one of Bessie Smith's greatest collaborators, trombonist George Brashear, clarinetist Clarence Robinson, drummer Raymond Green, and an aspiring pianist and future bandleader by the name of Fletcher Henderson.
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Product Details

  • Release Date: 11/21/2006
  • Label: Timeless Holland
  • EAN: 8711458208536
  • Catalog Number: 85

Tracks

Disc 1
  1. 1 Darkys Patrol - Steve Clemens (1:58)
  2. 2 Eli Greens Cake Walk - Messrs. Cullen & Collins (1:47)
  3. 3 Ethiopian Mardi Gras - Vess L. Ossman (2:02)
  4. 4 Cotton Blossoms - Kendle's First Regt. Band (2:56)
  5. 5 Bye, Bye Ma Honey - Messrs. Cantrell & Williams (2:27)
  6. 6 All Coons Look Alike to Me - Messrs. Cantrell & Williams (2:41)
  7. 7 Coon Songs - Olly Oakley (3:19)
  8. 8 Peaceful Henry (2:57)
  9. 9 Smokey Mokes - Charlie Rogers (1:53)
  10. 10 Razzazza Mazzazza (2:41)
  11. 11 Play That Barber Shop Chord - Bert Williams (2:57)
  12. 12 The Nigger's Hop - Mr. Josphen Batten (2:48)
  13. 13 Oh, That Ragged Rag (2:53)
  14. 14 The Land of Cotton - Hedges Brothers & Jacobson (2:55)
  15. 15 The Junk Man Rag Medley - Van Epps (3:36)
  16. 16 Bregeiro (4:10)
  17. 17 I Can Dance with Everybody Except My Wife (2:56)
  18. 18 Cute Little Wigglin' Dance - Frisco Jass Band (3:47)
  19. 19 The Dixie Volunteers (1:40)
  20. 20 Steve - Honey-Land Jazz Band (4:00)
  21. 21 Bluin' the Blues - Kansas Jazz Boys (2:43)
  22. 22 What Do You Mean by Loving Somebody Else When Your Love Belongs to Me? - The Versatile Four (2:43)
  23. 23 Dreaming Blues (3:09)
  24. 24 When My Baby Smiles at Me - Art Hickman's New York London Five (3:00)
  25. 25 What Could Be Sweeter Dear - James Murray and the Colored Syncopated Harmony Ki (3:08)
  26. 26 Wild Cherry Rag (2:35)
  27. 27 Tiger Rag - Ethel Waters (3:11)
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Album Credits

Performance Credits
Fletcher Henderson Piano
Jack Howard Alto Saxophone
John Ricks String Bass
Fred Van Eps Banjo, Soloist
Richard Williams Mandolin, Vocals, Mandoline
Clarence Robinson Clarinet
Frank Banta Piano, Soloist
Al Bernard Vocals
Arnold Johnson Piano, Vocals
Vess L. Ossman Banjo, Soloist
Charles Adams Prince Conductor
Arthur Pryor Trombone
Bert Brown Cornet
Walter Kahn Trumpet
Rudy Wiedoeft Clarinet
Aaron Thompson Trombone
William Hicks Trumpet
Larry Briers Piano
Simone Mantia Double Bass, Bowed Bass
Joseph Samuels Clarinet
Ephraim Hannaford Trombone
Charlie Mills Piano, Vocals, Voiceover
Raymond Green Drums
Fred Gaisberg Piano
Edgar Campbell Clarinet
Louis H. Christie Clarinet
A. Levy Clarinet
Olly Oakley Banjo, Zither, Soloist
Landon Ronald Piano
Alfonso Brooks Piano
John Kiburz Flute, Alto Horn, Tenor Horn
Ferdinand Allen Banjolin
Edgar Cantrell Banjo, Vocals
Vance Lowry Banjo
Ernest Cutting Piano
George Fishberg Piano
Walter Kildare Cello, Vocals
George Klein Drums
Joe Batten Piano, Soloist
Willie Creager Drums
Dan Kildare Piano
George Archer Drums
Sigmund Berendsohn Trombone
Herman Berkin Drums
Lorenzo Brashear Trombone
Bernadin S. Brown Alto Saxophone
Stephen B. Clemens Banjo, Soloist
Stephen B. Clements Banjo, Soloist
Sumner "King" Edwards String Bass
Clark Goodly Double Bass, Bowed Bass
Clarence Gransie Clarinet, Cornet
Technical Credits
Joe Jordan Composer
Eddie Leonard Composer
Harry Ruby Composer
Edythe Baker Composer
Arthur Pryor Director
Edgar Leslie Composer
Ida Emerson Composer
Mark Berresford Liner Notes, Original Material, Photo Courtesy
Fred Gaisberg Engineer
Kerry Mills Composer
Archie Gottler Composer
Dan Kildare Director
Frederick W. Hager Director
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