From The Art and Popular Culture Encyclopedia

Revision as of 12:13, 19 April 2020 Jahsonic (Talk | contribs) ← Previous diff		Current revision Jahsonic (Talk | contribs)
Line 1:		Line 1:
	{| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5"		{| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5"
	| style="text-align: left;" |		| style="text-align: left;" |
-	"Herein lies the importance, in a cultural and historical sense, of the [[phonograph]] record to jazz, more vital than the printed score to Western music."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh	+	"Now with Negro jazz beginning to emigrate from New Orleans, let us examine the [[white jazz]] of that city. This music, which is called [[Dixieland]], is an interesting cultural phenomenon. It is the first instance of a sincere adoption by the white man of an [[Afro-American art]] and, so far as I am able to estimate, it remains the sole instance."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 204
		+	<hr>
		+	"New York Negro swing centers around three [[big band]]s, that of [[Henderson]], [[Luis Russell]] and His Orchestra which played at the [[Saratoga Club]] in 1929, and [[Duke Ellington]]'s large group which played at the [[Kentucky Club]] in 1926 and at the [[Cotton Club]] In 1927."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 277
		+	<hr>
		+	"The development of [[swing music]] began in the early 1920s. Swing, which is not jazz, is a type of [[European music]] with transplanted Negroid characteristics. Even when produced by Negroes, it is Negroid only in surface manner." --''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, introduction
		+	<hr>
		+	"[[Duke Ellington|Ellington]]'s fame is now such that he gives [[Carnegie Hall]] concerts of a [[swing music|swing]] completely divorced from dance function, a ''[[Tea dance|tea dansant]]'' music trapped out with his borrowed effects from [[jazz]], the [[Impressionism in music|Impressionists]], and the [[Romantic music|French Romantics]]. Some hail him as a foremost genius of [[modern music]], a few lament that "the Duke has forsaken jazz." Both are wrong: the laurels of [[Paul Hindemith|Hindemith]], [[Igor Stravinsky|Stravinsky]], and [[Béla Bartók|Bartok]] are safe and, as for jazz, the Duke has never played it."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 281
		+	<hr>
		+	The researches of Doctor [[George Pullen Jackson]] and Professor [[George Herzog]] show a considerable part of the melody in [[African-American music|Afro-American music]] to be of Scotch-Irish-English origin. There is a traditional scientific point of view, exemplified by men like [[E. F. Frazier]], [[E. B. Reuter]], [[Charles S, Johnson]], and others, which argues against the survival of [[Africanism]]s among Western hemisphere Negroes. The contrary view, with its rich and accumulating evidence, of a general survival of cultural Africanisms, finds its strongest champion in Professor M. J. [[Herskovits]] (who originally held the counterview) and has strong advocates in men like [[M. Kolinski]] and [[Richard A. Waterman]]."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 342
		+	<hr>
		+	"A valuable study of West [[African music]] is the unpublished manuscript, ''[[Die Musik Westafrikas]]'', by [[M. Kolinski]], in the anthropological library at Northwestern University. Much of this study is based on the 600 or more cylinder recordings, chiefly Dahomean, made in Africa in 1931 by M. J. and F. S. [[Herskovits]]. Some of the data used in the following comparison of African and Afro-American music are drawn from this source. "--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 34
		+	<hr>
		+	"For time untold [[Mississippi River|the River]] had carried mud down, most of it swept out into the sea, a small part rescued in the land's final clutch. And now, [[New Orleans|the city]] founded, the ocean currents began to bring inland deposits of a different sort, human flotsam, hardy adventurers, priests, thieves, cutthroats, pimps, and girls of easy virtue recruited in France to assuage loneliness. Men of many kinds and conditions from widespread parts of the world, in two hundred years the living deposits came to include French, Spanish, Italians, the exiled [[Acadian]]s, Americans, and, of course, the Negroes, first from West Africa, later by way of Haiti and other Caribbean islands : white sediment and black sediment settling out in strata on the wet brown mud."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 152
		+	<hr>
		+	"[[Latin-American music]] came plentifully into the seaport, New Orleans, bringing the characteristic guitar. The [[tango]] and [[Contradanza|habanera]] rhythms entered into classic jazz and these, like the [[Samba]] and [[Conga]], are rhythms of at least secondary African origin, found variously in Brazil, Cuba, and the Caribbeans."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 178
		+	<hr>
		+	"The musical styles of various African areas are not yet fully documented or differentiated, though important work is in progress. The West Coast area, from which the slaves were taken, concerns us, particularly the related musics of [[Dahomey]], the [[Ashanti]], and the [[Yoruba]]. According to [[Herskovits]], a large proportion of the slaves in New Orleans were of Dahomean provenance, brought there directly from Africa or from the Caribbean islands, particularly Haiti."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 34
		+
		+	<hr>
		+	"Romantic nineteenth-century European music, particularly German, entered with the [[Wolverines]]. The cloying, sentimental sweetness though it may stem more directly from the "schmaltzy" little "[[oompah]]" band than from Wagner comes from this source. The classic line of French melody, entering jazz from the [[quadrille]] and [[Creole song]], could accord perfectly with the unromantic, unsentimental, pure classicism of Afro-American polyphony. The harmonic wanderings and musings, the adolescent, self-conscious romanticism and phony philosophy of the late German school, on the other hand, smother jazz under a blanket soggy with tears.
		+
		+	The Romantic tendency shows clearly in later records by [[Bix]], such as his ''Wringing and Twisting'' and, particularly, in his piano solo, ''In a Mist'', a rambling piece in unresolved Debussyesque harmonies. This music does not develop out of jazz and has no real relation to it, but it does prefigure the orchestral efforts of Duke Ellington which are frequently but erroneously considered to be jazz manifestations."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 200
		+	<hr>
		+	"In the fifth chorus occurs a polyrhythmic exposition of the theme that is of the highest creative order. Compared with the variety and complexity of this rhythmic development the syncopations of [[Schumann]], the dual meters of [[Brahms]] ? or even the rhythmic experiments of the modern composers seem almost elementary. The jazz and hot piano of the American Negro may not pursue harmonic or formal melodic development to any but a simple degree, but his polyrhythmic, melodic variation is the utmost modernity." --''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 307
		+	<hr>
		+	"[[Jazz]] is a lean and athletic music, unobsessed with romantic or commercial love. It shuns sentimentality and the languors of romantic desire. It demands monastic and arduous devotion from its practitioners, and when it deals with sex, does so frankly, without shame or furtiveness. While avoiding invidious comparisons, it is scarcely necessary to point out the erotic basis and quality of much revered [[Romantic music]]. There are examples like the ''[[Tristan und Isolde]]'' [[Liebestod]], the ''[[Verklärte Nacht]]'' of Schoenberg, and many a church Mass, in which the amorous content, enfolded in sensuous textures, even if unrecognized, is none the less gratefully and luxuriously yielded to by most listeners."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 200
		+	<hr>
		+	"Herein lies the importance, in a cultural and historical sense, of the [[phonograph record]] to jazz, more vital than the printed [[Sheet music|score]] to [[Music of Europe|Western music]]."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh
		+	<hr>
		+	"When a serious composer praises jazz music or even swing, it is unbiased praise, for jazz is the music without formal, written scores, composed by the players in the playing, while swing is the field in which the arranger is of much greater importance than the composer." --''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh
		+	<hr>
		+	[[Swing music|Swing]] is a reactionary music which sacrifices the truly modern tendencies of polyphonic jazz. And the swing techniques are largely mythical. Dexterity is less than a complete technique. It utilizes the obviously impressive while avoiding the unspectacular, truly difficult things, especially those requiring a genuine melodic and rhythmic creativeness. The present-day solo is esteemed modern and full of ideas in direct proportion to the more unrecognizable it makes the melody. Such "getting off" conceals lack of true invention or the ability to produce logical variation.
		+
		+	Swing has been no more modern than styles in women's clothing are modern. Its ceaseless search for novelty, rather than the truly original, has kept it faddishly changing, hectically striving to avoid being out-of-date. It has had from this an euphoric illusion of progress. As a result however while jazz remains modern and in advance of the times swing has steadily deteriorated and is now reaching a nauseous state of disintegration more and more apparent to the public. Its champions are being slowly discredited. It has degenerated during the last five years into the extreme forms of its two categories, sweet and hot. The former has become a completely devitalized, sentimental, hodgepodge of [[Tin Pan Alley]] ditty, and the Romantic and Impressionistic types of European music. In theatrical terms it is a [[tear-jerker]]. Large string sections are added by bands like that of [[Tommy Dorsey]] or even by a once quasi-hot group like that of [[Count Basie|Basie]]." --''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 289
		+	<hr>
		+	"Modern piano is a highly decadent form. One phase is an overornamented, decorative style; another is a pastiche of the Romantics and Impressionists, particularly [[Frederick Delius|Delius]] and [[Debussy]], even interlarded at times with pseudo-boogie-woogie or ragtime."--''[[Shining Trumpets, a History of Jazz]]'' (1946) by Rudi Blesh, p. 320
	|}		|}
	{{Template}}		{{Template}}
-	''[[Shining Trumpets, a History of Jazz]]'' (1946) is a book by [[Rudi Blesh]]. The passages "printed scores are not part of jazz" and "[[Duke Ellington |Ellington]]'s 'tea dansant music'.	+	''[[Shining Trumpets, a History of Jazz]]'' (1946) is a book on [[jazz]] by [[Rudi Blesh]]. The disparaging passage on "[[Duke Ellington|Ellington]]'s 'tea dansant music' is often cited.
		+
		+	The work is referenced in ''[[This is Pop]]'' (2004) edited by [[Eric Weisbard]].
		+
		+	It was one of the first books to speak appreciatively of [[black music]], being preceded by “[[Black Man's Music]]” (1933) by [[Shirley Graham]].
	=='Tea dansant' excerpts==		=='Tea dansant' excerpts==
-	"Another [[Rollini]] record, ''[[Weather Man]]'' (1935), in which the white trumpeter [[Mannone]] and others participate in a mixed white and Negro group, makes abortive attempts at improvised ensemble polyphony in the New Orleans manner, but is intelligible only in the solos. The whole is at a rather [[plodding]] swing tempo and in a romanticized tea dansant vein."	+	"Another [[Rollini]] record, ''[[Weather Man]]'' (1935), in which the white trumpeter [[Mannone]] and others participate in a mixed white and Negro group, makes abortive attempts at improvised ensemble polyphony in the New Orleans manner, but is intelligible only in the solos. The whole is at a rather [[plodding]] swing tempo and in a romanticized ''tea dansant'' vein."
-	"[[Ellington]]'s fame is now such that he gives [[Carnegie Hall]] concerts of a [[swing music|swing]] completely divorced from dance function, a ''tea dansant'' music trapped out with his borrowed effects from [[jazz]], the [[Impressionist music|Impressionists]], and the [[Romantic music|French Romantics]]. Some hail him as a foremost genius of [[modern music]], a few lament that "the Duke has forsaken jazz." Both are wrong: the laurels of [[Hindemith]], [[Stravinsky]], and [[Bartok]] are safe and, as for jazz, the Duke has never played it."	+	"[[Duke Ellington|Ellington]]'s fame is now such that he gives [[Carnegie Hall]] concerts of a [[swing music|swing]] completely divorced from dance function, a ''[[Tea dance|tea dansant]]'' music trapped out with his borrowed effects from [[jazz]], the [[Impressionism in music|Impressionists]], and the [[Romantic music|French Romantics]]. Some hail him as a foremost genius of [[modern music]], a few lament that "the Duke has forsaken jazz." Both are wrong: the laurels of [[Paul Hindemith|Hindemith]], [[Igor Stravinsky|Stravinsky]], and [[Béla Bartók|Bartok]] are safe and, as for jazz, the Duke has never played it."--p. 281
Line 16:		Line 55:
	"The whole noisy, exciting, and bespangled [[history of jazz]] is in this book. Here are the African backgrounds, the tentative beginnings of an American art in the Delta and New Orleans, the garishly colored heyday of the true New Orleans style, and the stories of the great jazz creators from that day to this. Written by a man who loves his subject, who knows music thoroughly, and who has studied his scenes and characters at first hand, Shining Trumpets is a fascinating and variegated story. Mr. Blesh does not miss any important musical or sociological implications: he has produced a book that is simultaneously a solid, serious history and a controversial piece of advocacy. Here is a whole central aspect of twentieth-century life in the United States told from the inside, and with all its surging vitality and down-to-earthness. No book like it has appeared before."--Dust jacket.		"The whole noisy, exciting, and bespangled [[history of jazz]] is in this book. Here are the African backgrounds, the tentative beginnings of an American art in the Delta and New Orleans, the garishly colored heyday of the true New Orleans style, and the stories of the great jazz creators from that day to this. Written by a man who loves his subject, who knows music thoroughly, and who has studied his scenes and characters at first hand, Shining Trumpets is a fascinating and variegated story. Mr. Blesh does not miss any important musical or sociological implications: he has produced a book that is simultaneously a solid, serious history and a controversial piece of advocacy. Here is a whole central aspect of twentieth-century life in the United States told from the inside, and with all its surging vitality and down-to-earthness. No book like it has appeared before."--Dust jacket.
		+	==Index [https://archive.org/stream/shiningtrumpetsa011141mbp/shiningtrumpetsa011141mbp_djvu.txt]==
		+
		+
		+	INDEX
		+
		+	(See also special Index of Music, page wni)
		+
		+
		+
		+	Acadians, the, 152
		+
		+	Adams, Tom, 181
		+
		+	Ade, George, 327
		+
		+	Africa, (Vol. 1, No. 1.), 27
		+
		+	African Native Music (Douglas H.
		+	Varley), 52
		+
		+	African Negro Music (E. M. Von
		+	Hornbostel), 27
		+
		+	Africa, West, 25, 27, 29, 34, 36-8, 42,
		+	43, 45, 53, 64, 92, 95, 97, 106, 133, 152,
		+	172, 188, 275, 292, 328, 342, 343, 346,
		+	347
		+
		+	Afro- American Folksongs (Henry E.
		+	Krehbiel), 10
		+
		+	Airdrome Theatre, the, 123
		+
		+	Alabama, 90, 93, 303
		+
		+	Alabam Club, the, 276
		+
		+	Algiers (La.), 154
		+
		+	Algiers Point, 217
		+
		+	Allen, Henry (Red), 275
		+
		+	Amendment, Fourteenth, 148
		+
		+	Amendment, Thirteenth, 148
		+
		+	American Jazz Music (Wilder Hob-
		+	son), 76
		+
		+	American Music Records, 337, 338
		+
		+	American Negro, The (Melville J.
		+	Herskovits), 47
		+
		+	American Negro Slave Revolts, (Her-
		+	bert Aptheker), 59
		+
		+	American Quarter, 160
		+
		+	Ammons, Albert, 115, 303, 308, 310, 311
		+
		+	Amsterdam News, 304
		+
		+	Anderson, Marian, 15, 76
		+
		+	Anderson's Saloon, Tom, 202
		+
		+	Anger Powder, 298
		+
		+	Ansermet, Ernest, 10
		+
		+	Apex Club Orchestra, 272
		+
		+	Aptheker, Herbert, 59
		+
		+	Arcadian Serenaders, 231
		+
		+	Arkansas, 52, 53, 303
		+
		+	Arlington, Josie, 199
		+
		+	Armstrong, Lillian, see Hardin, Lil-
		+	lian
		+
		+	Armstrong, Louis, xii, 13, 32, 43, 95,
		+	110, 127, 129, 131, 137, 138, 143, 166,
		+	172, 183, 184, 185, 201, 212, 217, 224,
		+	225, 231, 232, 242, 253, 256-61, 270,
		+	272, 278,, 279, 282, 283-7, 289, 309,
		+	320,331
		+
		+
		+
		+	Army, U. S., 203
		+	Asbury, Herbert, 203, 204
		+	Asch Records, 56, 60
		+	Ashanti, 34, 38, 34
		+	Ash Wednesday, 154
		+	Astaire, Fred, 89
		+	Astor Place (New York), 276
		+	Atkins, Eddie, 201
		+	Atlanta (Ga.) HO, 296
		+	Austin High School, 232
		+	Austin, Lovie, 138
		+
		+	Austin, Lovie and Her Blues Serenad-
		+	ers, 126
		+	Autograph Records, 230
		+
		+	Babira, 72, 344
		+
		+	Bach, Johann Sebastian, 81, 297, 339
		+
		+	Bahia (Brazil), 345, 346
		+
		+	Bahutu, 71, 72
		+
		+	Bailey, Buster, 127
		+
		+	Baker, Newton D. } 202
		+
		+	Balinese music, 339
		+
		+	Ballanta, Nicholas, 41
		+
		+	Baltimore (Md), 300
		+
		+	Baquet, Achille, 180, 206
		+
		+	Baquet, George, 180, 201
		+
		+	Barbarin, Isidore, 166
		+
		+	Barbary Coast, 223, 224
		+
		+	Barnes, Harrison, 166
		+
		+	Bart6k, Bela, 281
		+
		+	Basic, Count, 13, 281, 282, 290
		+
		+	Basin Street (New Orleans), *ee
		+
		+	North Basin Street
		+	Bay of Biloxi, 151
		+	Beach, Mrs. H. A., 327
		+	Bechet, Sidney, xii, 142, 180, 201, 270,
		+
		+	289
		+	Beethoven, Ludwig van, 101, 108, 110,
		+
		+	182, 185, 195, 254
		+	Beetle, the, 315
		+
		+	Behrmann, Mayor Martin, 202, 203
		+	Beiderbecke, Leon Bismarck (Bix),
		+
		+	227-30, 232, 265, 287, 318
		+	Believe It Or Not (Radio Program),
		+
		+	147
		+
		+	Belle of the West (#.#.), 153
		+	Benin, bronze sculptures of, 27
		+	Berigan and His Boys, Bunny, 272
		+	Berigan, Bunny, 272
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Berlin, Irving, 313, 336
		+
		+	Berliner's Gramophone Records, Emil,
		+
		+	s 168
		+
		+	Berlioz, Hector, 10
		+
		+	Beulah Land, 63
		+
		+	Bigard, Barney, 245
		+
		+	Big Easy Hall, 181
		+
		+	Biggs, Pete, 286
		+
		+	Birmingham (Ala.), HO, 296
		+
		+	Birmingham Babies, 263
		+
		+	Black Bottom (dance), 188
		+
		+	Black, Louis, 214
		+
		+	Blesh, Rudi, 40, 204, 278
		+
		+	Blind Blake, 311
		+
		+	Blind Sammie, 115, 309, 310
		+
		+	Bluebird Records, 236, 244, 296, 319,
		+
		+	358
		+
		+	Blue Note Records, 143, 308, 309, 338
		+	Blythe, James, 255, 303
		+	Bobcats, 288
		+
		+	Bocage, Peter, xii, 165, 170, 337
		+	Bogan, Lucille, 118
		+	Bojangles, 189
		+	Bolden, Charles (Buddy), 156, 157,
		+
		+	167, 169, 170, 174, 180-3, 184, 195,
		+
		+	196, 222, 252, 257, 314
		+	Bolden's Brass Band, 156, 171
		+	Bolden's Ragtime Band, 156, 180-2,
		+
		+	184, 186, 201
		+	Bontemps, Arna, 134
		+	Booze, Bea, 143
		+	Borowski, Felix, 328
		+	Boston (Mass.), 315
		+	Botkin, B. A., xi
		+	Botsford, George, 169
		+	Bowery, 276
		+	Brahms, Johannes, 307
		+	Braud (Breaux), Wellman, 218
		+	Brazil, 29, 178, 345, 346, 349
		+	Brazos River, 54
		+	Bright, Kenneth Lloyd, xi
		+	British Museum, 35
		+	Broadway (New York), 276
		+	Brocky Johnny, 293
		+	Broun, Heywood Hale, 162
		+	Brown Band, Tom, 219-21
		+	Brown, Henry, 297, 298
		+	Brown, Joe Washington, 72
		+	Brown, Sidney, 190
		+	Brown, Steve, 214
		+	Brown, Tom, 219, 220
		+	Brumes, George, xii, 169, 209, 214, 236
		+	Brunswick Records, 235, 299, 319, 320
		+	Bucktown Five, 230, 231
		+	Buddy Bottler's Place, 172
		+	Buffalo (N. Y.), 174
		+	Burley, Dan, 303, 337
		+
		+
		+
		+	Burt, Hillma, 201, 294
		+	Bushkin, Joe, 236
		+	Buzzards, 196
		+
		+	Cabin and Plantation Songs, as sung
		+
		+	by the Hampton Students, 66
		+	Cabin in the Sky, 82
		+	Cadman, Charles Wakefield, 328
		+	Cafe" Society, 273, 308, 320
		+	Cairo (111.), 217
		+	Cake Walk, 167, 168, 188
		+	California, 218, 223
		+	California Ramblers, 263
		+	Calinda, 60
		+	Canal Street (New Orleans), 154, 160,
		+
		+	196, 246
		+
		+	Canal Street (New York), 276
		+	Cannon Ball Express, 129, 310
		+	Capitol Night Club, 330
		+	Capitol (&&),2rr
		+	Captain Canot, or Twenty Years of an
		+
		+	African Slaver, 50
		+	Cara, Mancy, 286
		+	Carew, Roy, xi
		+	Carey's Band, Jack, 201
		+	Carey, Thomas (Papa Mutt), xii, 179,
		+
		+	184, 185, 337
		+
		+	Caribbeans, 3, 34, 152, 167, 178, 276
		+	Carnal Baptists, 347
		+	Carnegie Hall, 281, 288, 308
		+	Carpenter, John Alden, 328
		+	Carr, Leroy, 114
		+	Carroll, Albert, 294
		+	Carr*s Musical Journal, 50
		+	Carter, Benny, 273
		+	Carter, Buddy, 202
		+	Casa Loma Orchestra, 287
		+	Cascades Ballroom, 227
		+	Casoff, Jules, 205
		+	Catholicism, Roman, 29, 346
		+	Catlett, (Big) Sid, 235
		+	Cato, Tab, 181
		+	Cauldwell, Happy, 145
		+	Cavaliers, 81
		+	Chamber Music Society of Lower
		+
		+	Basin Street, 272
		+	Champion Records, 305
		+	Charleston (S. C.), 58
		+	Chartres Street (New Orleans), 246
		+	Chatham Theater, 359
		+	Chausson, Ernest, 8
		+	Cherokee Nation, 357
		+	Chicago, 7, 10, 110, 120, 184, 190, 199,
		+
		+	204, 214, 215, 218-38, 241, 246, 249,
		+
		+	262, 263, 267, 272, 275, 283, 297, 298,
		+
		+	299, 303, 304, 305, 357
		+	Chicago Footwarmers, 242, 254
		+
		+
		+
		+	II
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Childs Restaurant, 236
		+
		+	Chinese language, 42
		+
		+	Chinese music, 339
		+
		+	Chirico, George, 309
		+
		+	Chocolate Dandies, 273
		+
		+	Chopin, Frederic, 185, 192, 334
		+
		+	Christianity, 29, 59
		+
		+	Christian services, early, 68
		+
		+	Church of God and Christ at Moorhead
		+
		+	Plantation, 70, 72, 355, 356
		+	Church of God in Christ, Clarksdale,
		+
		+	Miss., 355
		+	Cicero, 113
		+
		+	Cincinnati (Ohio), 129
		+	Circle Records, 300, 304, 307, 311, 314,
		+
		+	315, 337, 338
		+
		+	Circumcision Ritual, Babira, 72
		+	Circus Square, 35
		+
		+	Civil War, American, 63, 93, 102, 180
		+	Claridge Hotel, 331
		+	Clayton, Jennie, 103
		+	Clemens, Samuel (Mark Twain), 57
		+	Clemens State Farm, Brazoria, Texas,
		+
		+	53
		+
		+	Cless, Rod, 236, 339
		+	Cleveland (Ohio), 304
		+	Coeuroy, Andr6, 156
		+	Colas, Mrs. Amede", xi
		+	Coleman, Austin, 72
		+	Collins, Lee, 138, 337
		+	Collins, "Slick," 304
		+	Collins, Wallace (Colley), xii, 155-
		+
		+	7, 181, 184
		+	Columbia Records, 115, 130, 188, 213,
		+
		+	224, 255, 272, 309
		+	Columbus Band, 180
		+	Columbus (Ga.)s 123
		+	Come Clean Hall, 181
		+	Commodore Records, 237, 299
		+	Comus, 154
		+
		+	Condon, Eddie, 145, 275, 288
		+	Confederate brass bands, 155
		+	Confrey, Zez, 336
		+	Conga, 178
		+
		+	Congo, Belgian, 53, 71, 72, 344, 855
		+	Congo River, 292
		+	Congo Square, 3, 35, 64, 153, 157, 158,
		+
		+	161, 247, 276, 346
		+	Connie's Inn Orchestra, 279
		+	Conroy, Jack, 134
		+	Copland, Aaron, 334
		+	Cornish, Willy, 181
		+	Cotton Club, 277
		+	Cotton Pickers, 229, 263, 264, 265
		+	Cowell, Henry, 194
		+	Creath and His Orchestra, Charlie, 281
		+	Creoles, the, 153, 328
		+
		+
		+
		+	Creoles of Color, 152, 153, 176, 177,
		+
		+	179, 180, 269
		+
		+	Crescent City, 110, 152, 196, 198
		+	Crescent Records, 337, 338
		+	Cricket, The, 180
		+	Crosby and His Orchestra, Bob, 287,
		+
		+	288
		+
		+	Cuba, 178
		+
		+	Cumins State Farm (Gould, Ark.), 52
		+	Customhouse Street (New Orleans),
		+
		+	198, 202
		+
		+	Dahomeans, the, and their music, 10,
		+
		+	34, 39, 92, 118, 120, 344
		+	Dahomey, 34, 38, 41, 343
		+	Dallas (Texas), 114, 184, 213
		+	Damrosch, Dr. Frank, 328
		+	Dance of Life, The (Havelock Ellis),
		+
		+	59
		+
		+	Daniels, Josephus, 202, 203, 204
		+	Dark Rapture, 71
		+	Darrington State Prison Farm (Sandy
		+
		+	Point, Texas), 351
		+	Dave, Johnny, 189
		+	Davenport, Charlie (Cow Cow), xii,
		+
		+	310
		+
		+	Davenport (Iowa), 214, 217, 227
		+	Davis, Charlie, 145
		+	Davis, Sammy, 202, 294
		+	Dawn Club, 324
		+	Debussy, Claude, 229, 281, 320
		+	Decatur Street (New Orleans), 246
		+	Decca Records, 235, 287, 357
		+	Decou, Walter, 186
		+	De Labbe Cafd, 220
		+	DeLaunay, Charles, 263, 323
		+	Delius, Frederick, 281, 320
		+	Delta, Mississippi, 151
		+	Delta Records, 162
		+	De Luxe Cafe, 218, 221
		+	Denis-Roosevelt African Expedition,
		+
		+	71, 72
		+
		+	Desire Street (New Orleans), 153
		+	Des Moines (Iowa), 174
		+	"Detroit Red," 304
		+
		+	Dewey, Lawrence, see Dube", Lawrence
		+	Diamond Stone Band, 180
		+	Dickerson's Orchestra, Carroll, 282,
		+
		+	283
		+
		+	Dix, Gertrude, 203
		+	Dixieland Jass Band, see Original
		+
		+	Dixieland Jazz Band
		+	Dixieland Jug Blowers, 254
		+	Dodds, Johnny, 137, 223, 225, 226, 227,
		+
		+	231, 234, 242, 244, 253-7, 261, 266,
		+
		+	278, 284-6, 337
		+	Dodds's Trio, Baby, 300
		+
		+
		+
		+	III
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Dodds, Warren (Baby), xii, 40, 138,
		+
		+	157, 166, 217, 223, 224, 234, 242, 244,
		+
		+	255, 261, 286, 300
		+	Dodds's Washboard Band, Johnny,
		+
		+	254, 255
		+
		+	Dominique, Natty, 254
		+	Dorsey, Jimmy, 265
		+	Dorsey, Tom (Georgia Tom), xii
		+	Dorsey, Tommy, 265, 272, 290
		+	Down Beat, 147, 169
		+	Dreamland Caf e", 222, 223
		+	Drury Lane (London), 359
		+	Dryades Street (New Orleans), 221
		+	Dune" (Dewey), Lawrence, 201, 218,
		+
		+	222
		+
		+	Dumaine, Louis, 183
		+	Dumaine's Jazzola Eight, Louis, 212
		+	Duquesne Gardens, 220
		+	Dusen, Frankie, 184
		+	Dutrey, Honore, 180, 223, 225, 231, 242
		+
		+	Eagle Band, 171, 184, 201, 221
		+
		+	Early's Cabaret, Frank, 201
		+
		+	Economy Hall, 181
		+
		+	Eddie's Hot Shots, 144, 145
		+
		+	Edison, Thomas Alva, 210
		+
		+	Edwards, Eddie, 211, 212, 213, 214, 220
		+
		+	Egypt, 63, 258, 330
		+
		+	Ellington, Duke, 13, 134, 144, 229, 259,
		+
		+	260, 266, 277, 280, 281, 320, 31
		+	EUis, Havelock, 59
		+	Elysian Fields, 97
		+	Emancipation, 3, 52, 61-3, 98, 148, 156,
		+
		+	157, 167, 180, 196, 199, 262, 360
		+	Emmet, Dan, 359
		+	Empress of the Blues , 129. See also:
		+
		+	Smith, Bessie
		+	England, 81, 359
		+	English language, 94
		+	Enterprise (#.#.), 153
		+	Ertegun, Nesuhi, xi, 155
		+	Esquire, 289
		+	Etude, 327
		+
		+	Europe's Band, Jim, 270
		+	Evans, Roy, 190
		+	Evans, Stomp, 256
		+	Ewell, Don, 300
		+	Excelsior Band, 180
		+	Ezell, Will, 297, 815
		+
		+	Farmer, Harold, 304
		+	"Fate" Motive, 101
		+	Faure*, Gabriel, 8
		+	Fenner, Thomas P., 159
		+	Fewclothes' Cabaret, George, 201
		+	Field (Filhe), George, 221
		+	Finck, Henry T., 328
		+
		+
		+
		+	Fisk College (later, Fisk University),
		+
		+	15, 159
		+
		+	Fisk Jubilee Singers, 76, 146, 159
		+	Five Century Grass, 298
		+	Florida, 84, 360
		+	Fort Worth (Texas), 114, 174
		+	Foster, George (Pop), xii, 184, 217,
		+
		+	275
		+
		+	Fouchet, Earl, 189
		+	France, 8, 152, 153, 179, 270, 271, 322,
		+
		+	323
		+
		+	Franck, C6sar, 8, 281
		+	Franklin Street (New Orleans), 198
		+	Frazier, E. F., 342
		+	Freedom's Journal, 276
		+	Freeman, Bud, 232, 235
		+	French Opera House (New Orleans),
		+
		+	3, 176
		+	French Quarter, The (Herbert As-
		+
		+	bury), 203, 204
		+	French Quarter (New Orleans), 151,
		+
		+	198
		+
		+	Friars' Inn, 227
		+	Friars Society Orchestra, 214
		+	Frisco and McDermott (vaudeville
		+
		+	team), 219
		+
		+	Fuller, Blind Boy, 115
		+	Fuller, Earl, 274
		+	"Funky Five," 804
		+
		+	Gabon, wood sculptures of, 27, 45
		+	Galvez Street (New Orleans), 246
		+	"Game Kid," The, 202, 293
		+	Gande, Al, 228
		+
		+	Garfield, President James A., 155
		+	Garland, Ed \Montudi), xii, 179, 223,
		+
		+	286, 337
		+
		+	Geary Theatre (San Francisco), 185
		+	General Records, 319, 355
		+	Gennett Records, 214, 224, 226, 228,
		+
		+	230, 243, 273, 280, 815
		+	George V, 305
		+	Georgia, 123, 283
		+	Georgia Breakdown (dance), 188
		+	Georgians, The, 263
		+	Georgia Sea Islands, 60, 168
		+	Georgia Smart Set, Holecamp's, see:
		+
		+	Holecamp's Georgia Smart Set
		+
		+	13, 195, 204, 336, 353
		+	5, 296
		+	Gillette, Bob, 228
		+	Gillum, Jazz, 113, 142
		+	Globe Hall, 181
		+	Godfrey, Hettie, 90
		+	Gold Bug, The (Edgar Allan Poe), 860
		+	Gold Coast, 328
		+	Golden Age of jazz, 13, 15, 239
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Golden Gate Quartet, 85-7
		+	Goldkette, Jean, 230, 269
		+	Gombo Zhebes (Lafcadio Hearn), 64
		+	Gonsoulin, Bertha, xii, 224
		+	Goodman, Benny, 143, 266, 271, 272,
		+
		+	277, 289, 336
		+
		+	Goodman Quartet, Benny, 271
		+	Goodman Quintet, Benny, 271
		+	Goodman Trio, Benny, 271
		+	Goofer Dust, 298
		+	Goofus Five, 263
		+	Gowans, Brad, 263
		+	Graham, Ora Dell, 90
		+	Grande, Vincent, 263
		+	Graupner, Johann, 359
		+	Gravier Street (New Orleans), 198
		+	Green, Charlie (Long), 127, 131, 132
		+	Green, Lil, 142
		+	Gretna (La.), 182, 293
		+	Grieg, Edvard, 279
		+	Grossman, Eugene, 337
		+	Gulf of Mexico, 151
		+
		+	Haiti, 29, 34, 64, 152, 161, 275
		+	Haitian revolutions (1792-1806), 275
		+	Half-Way House Orchestra, 213
		+	Hall, Helen, xi
		+
		+	Hall, Minor (Ram), xii, 218, 223, 337
		+	Hampton Institute, 159
		+	Hampton, Lionel, 273, 282
		+	Hampton Student Singers, 65, 159
		+	Handy, William Christopher, 146, 147
		+	Hardin (Armstrong), Lillian, 218, 223,
		+
		+	224, 256, 285, 286
		+	Harding, Phil, 304
		+	Harding, Tom, 304
		+	Harlem (New York), 73, 127, 146, 157,
		+
		+	274-7, 304, 314, 315, 329
		+	Harris, Aaron, 83
		+	Harrison, Jimmy, 268
		+	Harrison, Lou, xi, 106, 107
		+	Hartwell, Jimmy, 228
		+	Harvey, John, 84
		+	Hawk and chickens, 90, 91
		+	Hawkins, Coleman, 267, 268
		+	Hazel, Sam, 57
		+	Head of the Passes, 151
		+	Hearn, Lafcadio, 64, 328
		+	Hemingway, James, 304
		+	Henderson, Fletcher, 13, 131, 132, 277-
		+
		+	80, 283, 336
		+	Henderson's Orchestra, Fletcher, 258,
		+
		+	276, 277, 279, 288
		+	Herskovits, Frances S., 34
		+	Herskovits, Melville J,, xi, 27, 28, 29,
		+
		+	34, 45, 47, 63, 65, 342, 345, 347
		+	Herzog, George, 342, 343
		+
		+
		+
		+	Hilaire, Andrew, 242, 245
		+
		+	Hill, Alex, 319
		+
		+	Hill, Bertha (Chippie), xii, 110, 111,
		+
		+	136, 137, 138, 139, 142, 337
		+	Hill, Clyde, 53
		+	Hindemith, Paul, 281
		+	Hines, Earl (Father), 283, 286, 289,
		+
		+	315, 318, 320
		+	Hobson, Wilder, 76
		+	Hodes, Art, 234, 236, 300, 338, 339
		+	Hodes's Columbia Quintet, Art, 236
		+	Holecamp's Georgia Smart Set, 184
		+	Holiday, Billie, 113, 143-4
		+	Hollywood, 338
		+	Honky Tonk music, 202
		+	Hopes HaU, 181
		+	Hornbostel, E. M. von, 27
		+	Home, Ellis, 324
		+	Hot Club of France, 270
		+	Hot Disco grapJiy (Charles Delaunay),
		+
		+	263, 323
		+	Hot Five, 127, 231, 242, 256, 258, 261,
		+
		+	283-5
		+
		+	Hot Record Society, 323
		+	Hot Seven, 258, 283-7
		+	Houston (Texas), 296
		+	Howard, Avery (Kid), 165
		+	Howard, Darnell, xii, 245, 337
		+	Howard, Joe, 166, 184
		+	Humphrey, Brock, 181
		+
		+	Iberville, Sieur d' (Pierre le Moyne),
		+
		+	151
		+	Iconography of Manhattan Island,
		+
		+	The (Stokes), 276
		+	Hari with VIdaFs group, 346
		+	Imperial Band, 179, 201, 221
		+	Impressionists, The, 281, 290, 320
		+	Indian, American, 64
		+	Indian Band, 180
		+	Indian Territory, 357
		+	Indiana, 299
		+	Irish Channel, 178
		+	Iroquois Cafe, 224
		+	Irvis, Charlie, 274
		+	Item, The, 203
		+	Ives, Charles, 194
		+
		+	Jack the Bear, 315
		+
		+	Jackson, Bessie, 118
		+
		+	Jackson, Doctor George Pullen, 342,
		+
		+	343
		+
		+	Jackson Hall, 181
		+	Jackson, Tony, 202, 294, 318
		+	Jade Room, 338
		+	James, Harry, 220
		+	James, Jesse, 115, 357
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Jamestown (Va.), 48, 98
		+
		+	Janis, Harriet, xii, 337
		+
		+	Jazz Age, 10
		+
		+	Jazz Band and Negro Music, The
		+
		+	(Darius Milhaud), 329
		+	Jazz Begins (Rudi Blesh), 204
		+	Jazz, Hot and Hybrid (Winthrop Sar-
		+
		+	geant), 336
		+
		+	Jazz Hot, Le (Hugues Panassie*), 322
		+	Jazz, Le (Coeuroy and Schaeffner), 156
		+	j a zz Lowbrow and highbrow (H. T.
		+
		+	Finck), 328
		+	Jazzman Records, 185, 186, 202, 319,
		+
		+	324
		+	Jazzmen (edited by Frederic Ramsey,
		+
		+	Jr. and Charles Edward Smith), 182,
		+
		+	220, 323
		+
		+	Jazz Record (Magazine), 179
		+	Jazzways Annual, 204
		+	Jefferson, Blind Lemon, 114
		+	Jefferson, Thomas, 50, 169
		+	Jew, the, 330
		+	Jockers Brothers, 269
		+	Johnson, Bascom, 202
		+	Johnson, Blind Willie, 78, 79
		+	Johnson, Bunk, xii, 95, 127, 157, 160,
		+
		+	172, 178, 182-7, 190, 214, 215, 222,
		+
		+	225, 252, 257, 282, 283, 286, 289, 331,
		+
		+	332, 337, 338
		+
		+	Johnson's Band, Bunk, 188, 300, 338
		+	Johnson's Original Superior Band,
		+
		+	Bunk, 186
		+
		+	Johnson, Charles S., 342
		+	Johnson, George, 228
		+	Johnson, James P., 146, 274, 314, 315,
		+
		+	316, 317, 320
		+	Johnson, Lonnie, 112, 141
		+	Johnson, Pete, 308, 311
		+	Johnson, Robert, 121, 122
		+	Johnson, Turner, Junior, 78
		+	Johnson, Willie, see: Johnson, Bunk
		+	Joies et Les Enigmes d'Une Heure
		+
		+	Etrange, Les, 309
		+	Jones, Rev. A. M., 52
		+	Jones, Maggie, 110
		+	Jones, Richard M., 138
		+	Jones B'and, Richard M., 201
		+	Joplin, Scott, 169, 312, 314, 319
		+	Jordan, Charley, 114, 115
		+	Juba, 360
		+
		+	Kaminsky, Max, 236, 339
		+	"Kansas City Five, 282
		+	Kansas City Frank, see: Melrose,
		+
		+	Frank
		+	Kansas City (Mo.), 110, 114, 217, 274,
		+
		+	281, 282, 296, 303, 308, 311
		+
		+
		+
		+	Kentucky, 256
		+
		+	Kentucky Club, 277, 280
		+
		+	Kentucky mountains, 131
		+
		+	Keppard, Freddie, 183, 201, 221, 222,
		+
		+	252, 257
		+	Ketu, 346
		+	Kid Lippy, 315
		+	King Cole, 154
		+	King, Porter, 319
		+	King, Stanley, 265
		+	Kin to Kan't, 108
		+	Kirby, John, 273
		+
		+	Kirby and His Orchestra, John, 273
		+	Kolinski, M., 34, 38, 41, 342, 343, 344
		+	Krehbiel, Henry E., 9, 10
		+	Krenek, Ernst, 333-5
		+	Krupa, Gene, 89, 275
		+
		+	Ladd's Black Aces, 263
		+	Ladies 3 Home Journal, 327
		+	Ladnier, Tommy, 126, 143, 183
		+	Laine, Jack (Papa), 205, 206, 207, 208,
		+
		+	214
		+
		+	Laine's Ragtime Band, Papa, 208
		+	Lake Forest Academy, 228
		+	L'ala, Johnny, 205
		+	Lala's Cafe, Peter, 201, 222, 224
		+	Lambert, Constant, 255
		+	Lambert, William, 219
		+	Lambs' Cafe, 219
		+	L. and N. Railroad, 129
		+	Lang, Eddie, 269
		+	Lannigan, Jim, 232
		+	La Rocca, Dominique J. (Nick), 208,
		+
		+	211, 212, 214, 220
		+
		+	Lead Belly, see: Ledbetter, Huddie
		+	Leavitt, Andy, 360
		+	Ledbetter, Huddie (Lead Belly), 52,
		+
		+	54, 56, 60, 114, 346
		+	Leek's Lake Resort, 224
		+	Leibrook, Min, 228
		+	Lenox Ave. (New York), 331
		+	Le Protte, Sid, xii, 223, 224
		+	Lewis, Frank, 181
		+	Lewis, George, xii, 166, 186, 187, 215,
		+
		+	337
		+
		+	Lewis, Harold, 338
		+	Lewis, Meade Lux, 115, 303, 308, 309,
		+
		+	310
		+
		+	Lewis, Ted, 274, 281
		+	Library of Congress, xi, 45, 84, 85, 89,
		+
		+	177, 243, 304, 351, 352, 355, 356
		+	Library of Congress, Folk Archives of
		+
		+	the, 52, 53, 67, 78, 83
		+	"Lightning," 351
		+	Lincoln, Abraham, 140
		+	Lincoln Gardens Caf 6, 224
		+
		+
		+
		+	INDEX
		+
		+	Lincoln Park (New Orleans), 174
		+
		+	Lindsay, John, 138, 245, 255
		+
		+	Lingle, Paul, xii
		+
		+	Liszt, Franz, 249
		+
		+	Little Brother, 292. See also: Mont-
		+	gomery, Eurreal
		+
		+	Little, Jim, see: Brown, Sidney
		+
		+	Little Ramblers, 263
		+
		+	Living Age, 329
		+
		+	Locust Street (New Orleans), 198
		+
		+	Lofton, (Cripple) Clarence, 298, 303,
		+	310, 357
		+
		+	Lomax, Alan, 54, 60, 83, 91, 93, 352
		+
		+	Lomax, John A., 54, 60, 83
		+
		+	Lombardo, Guy, 227
		+
		+	London Company of Stationers, Reg-
		+	ister of, 82
		+
		+	London, 267, 305, 359, 361
		+
		+	Lopez, Ray, 219
		+
		+	Los Angeles, 224
		+
		+	Louisiana, 52, 54, 64, 75, 184, 282, 303
		+
		+	Louisiana Federation of Women's
		+	Clubs, 203
		+
		+	Louisiana Five, 220
		+
		+	Louisiana Territory, 151
		+
		+	Louis' Stompers, 283
		+
		+	Louisville (Ky.)> 256
		+
		+	Love and Charity Hall, 181
		+
		+	Loyocano, Arnold, 219
		+
		+	Lunceford, Jimmy, 13, 282
		+
		+	Lyons, Bob, 184
		+
		+	Lyric Theater, 123
		+
		+	Lytell (Sarrapfcde), Jimmy, 263
		+
		+	MacAgy, Douglas, xi
		+
		+	Macbeth, Lady, 200
		+
		+	Mad Water, 298
		+
		+	Magnolia Sweets, 201
		+
		+	Mahogany Hall (Lulu White's), 199
		+
		+	Mannone, Joseph (Wingy), 235, 271
		+
		+	Marable, Fate, 217, 218
		+
		+	Mardi Gras, 153, 154, 166, 173, 181
		+
		+	Mares, Paul, xii, 206, 214, 215, 227
		+
		+	Market Street (San Francisco), 223,
		+
		+	324
		+
		+	Marlow (Mello), Manuel, 205
		+	Marrero, Laurence, 166, 186
		+	Martin, Sara, 146
		+	Maryland, 300
		+	Mary's Place, 224
		+	Mason-Dixon Line, 58
		+	Masonic Hall, 181
		+	Matisse, Henri, 49
		+	Matthews, Brander, 361
		+	Mayo Tobacco Factory (Richmond,
		+
		+	Va.)> 66
		+	McClennan, Tommy, 112
		+
		+
		+
		+	McCIintock, Harriet, 90, 93-6
		+
		+	McKenzie, Red, 267, 268, 269
		+
		+	McPartland, Dick, 232
		+
		+	McPartland, Jimmy, 232
		+
		+	Melotone Records, 115
		+
		+	Melrose, Frank, 89, 235, 299
		+
		+	Melrose Music Corporation, 250
		+
		+	Memphis (Term.), 110, 147, 217, 296
		+
		+	Memphis Five, 229
		+
		+	Memphis Jug Band, 103
		+
		+	Memphis Minnie, 114
		+
		+	Mezzrow, Milton, 145
		+
		+	Miles, Lizzie, 113
		+
		+	Miley, Bubber, 280
		+
		+	Milhaud, Darius, 8, 10, 329-31
		+
		+	MiUer, Glenn, 268, 272
		+
		+	Mills, Kerry, 169
		+
		+	Milneburg, 182, 293
		+
		+	"Minnie Mouse," see: Gonsoulin, Ber-
		+	tha
		+
		+	Mississippi, 52, 57, 78, 84, 90, 96, 97, 130,
		+	253, 303, 355, 356
		+
		+	Mississippi Basin, 153
		+
		+	Mississippi River, 57, 110, 131, 151, 153,
		+	182, 217, 292
		+
		+	Missouri River, 217
		+
		+	Mr. Jelly Lord (Morton), 246, 247,
		+	248
		+
		+	Mitchell, George (Little Mitch), 242,
		+	245, 256, 257
		+
		+	Mitchell's Christian Singers, 76, 78
		+
		+	Modern Music Quarterly, 331
		+
		+	Mole, Milfred (Miff), 263
		+
		+	Montgomery, Eurreal, 296, 297
		+
		+	Moore, Vic, 228
		+
		+	Moorhead Plantation, 70, 356
		+
		+	Moors, 178
		+
		+	Morden, Marili, xi
		+
		+	Morgan, Andrew, 189
		+
		+	Morgan, Isaiah, 189
		+
		+	Morgan, Sam, 189
		+
		+	Morgan's Jazz Band, Sam, 189, 190,
		+	212
		+
		+	Morley, Dr. Grace L. McCann, xi
		+
		+	Morris Hot Babies, 274
		+
		+	Morris, Thomas, 274
		+
		+	Morton, Ferdinand (Jelly Roll), xi, 83,
		+	134-6, 147, 169, 171, 177, 180, 191-
		+	5, 199, 202, 224, 231, 242-53, 255, 256,
		+	260, 261, 265, 269, 279, 293, 294, 299,
		+	300, 304, 312, 318, 314, 318, 319, 321,
		+	324,334
		+
		+	Morton and His New Orleans Jazz-
		+	men, Jelly Roll, 171
		+
		+	Morton and His Red Hot Peppers,
		+	Jelly Roll, 106, 231, 244-52
		+
		+	Mosely, Rev. W. M., 67
		+
		+
		+
		+	Vll
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Moses, 51, 63, 258, 330
		+
		+	Moten, Bennie, 281
		+
		+	Moten's Kansas City Orchestra, Ben-
		+	nie, 281, 282
		+
		+	Mound City Blue Blowers, 267, 269
		+
		+	Moussorgsky, Modeste, 105
		+
		+	Moynahan, Jim, 263
		+
		+	Moyne, Pierre Le, see : Iberville, Sieur,
		+	d'
		+
		+	Mueller, Gus, 219, 220
		+
		+	Mungo, 359
		+
		+	Murphy, Melvin (Turk), xii, 324
		+
		+	Musical Scene, The (Virgil Thom-
		+	son), 331
		+
		+	Music Here and Now (Ernst Krenek),
		+	333
		+
		+	Music of the African Races (Nicholas
		+	Ballanta),41
		+
		+	Musicraft Records, 60
		+
		+	Musik Westafrikas,Die (M. Kolinski),
		+	34, 344,
		+
		+	Mysterious Babies, The, 196
		+
		+	Myth of the Negro Past, The (M. J.
		+	Herskovits), 28, 63, 65
		+
		+	Napoleon, Phil, 263, 265
		+
		+	Napoleon, Ted, 265
		+
		+	Nation, The, see: Cherokee Nation
		+
		+	Navy Department, 202, 203
		+
		+	Navy, U. S., 203
		+
		+	Neapolitan song, 214
		+
		+	Ned, Louis, 156
		+
		+	Negro Folk Songs as Sung by Lead
		+	Betty (John A. Lomax and Alan Lo-
		+	max), 54, 60, 83
		+
		+	Negro Minstrelsy (Brander Mat-
		+	thews), 361
		+
		+	Negro question, 28
		+
		+	Nelson, Louis de Lisle (Big Eye), xii,
		+	167, 184, 201, 221
		+
		+	Nelson, Romeo, 120, 121, 311
		+
		+	New Basin Canal (New Orleans), 154
		+
		+	New Friends of Rhythm, 272
		+
		+	New Iberia (La.), 185
		+
		+	New Netherland, 276
		+
		+	New Orleans, 3, 5, 7, 9, 10, 15, 32, 34-
		+	6, 38, 43, 58-60, 64, 78, 94, 95, 96, 100,
		+	102, 103, 110, 111, 116, 125, 126, 127,
		+	129, 134, 137, 145, 147, 151-216, 217-
		+	23, 224r-6, 230, 233, 234, 236, 237, 239,
		+	241, 245, 247, 249, 252, 257, 264, 268,
		+	269, 273, 275, 276, 278, 284, 285, 290,
		+	294, 296, 297, 303, 304, 323, 336, 346,
		+	356
		+
		+	New Orleans Bootblacks, 231, 254, 255-
		+	7
		+
		+	New Orleans Memories, 162, 319
		+
		+
		+
		+	New Orleans Rhythm Kings, 206, 208,
		+	209, 214, 215, 223, 227, 230-2, 243,
		+	265, 273
		+
		+	New Orleans University, 159
		+
		+	New Orleans Wanderers, 188, 231, 242,
		+	254, 255-7, 337
		+
		+	New York City, xi, 7, 10, 58, 124, 169,
		+	184, 215, 218, 220, 221, 236, 244, 249,
		+	262-91, 300, 308, 310, 313, 327, 338
		+
		+	New York Recording Laboratories,
		+	see : Paramount Records
		+
		+	New York Sun } 328
		+
		+	Nicholas, Albert, 300, 337
		+
		+	Nicholas, "Wooden" Joe, 183
		+
		+	Nichols, Loring (Red), 229, 265
		+
		+	Nick's Cafe, 236
		+
		+	Niger River, 292
		+
		+	Noone, Jimmy, 201, 223, 272, 273
		+
		+	Noone-Petit Orchestra, 201
		+
		+	North Basin Street (New Orleans),
		+	198, 199, 202, 246
		+
		+	North Carolina, 76
		+
		+	North Rampart Street (New Or-
		+	leans), 154
		+
		+	Northwestern University, xi, 34, 45,
		+	345
		+
		+	Norvo, Red, 271
		+
		+	Notes on Virginia (Thomas Jeffer-
		+	son), 50
		+
		+	NouveUe Orleans, 151
		+
		+	Nunez, Alcide (Yellow), 205, 208,
		+	220
		+
		+	Oaks, The, 153
		+
		+	Office of War Information, 185
		+
		+	Ogun, 75
		+
		+	Ohio, 304
		+
		+	Ohio River, 217
		+
		+	Okeh Records, 137, 141, 218, 224, 231,
		+
		+	232, 235, 256, 305, 316, 317
		+	Oklahoma City (Okla.), 303
		+	Oklahoma Territory, 357
		+	Old Florida Sam, 293
		+	Old Quarter, 154, 155, 160, 182
		+	Old Witch, 90
		+	Oliver, Mrs. Frances, xi
		+	Oliver, Joseph (King), 14, 127, 182,
		+
		+	183, 184, 201, 214, 221-7, 228, 232,
		+
		+	242, 250, 252, 253, 257, 258, 277-9,
		+
		+	282, 283, 286, 319, 324
		+	Oliver's Creole Jazz Band, King, 209,
		+
		+	223-7, 230-2, 239, 241, 242, 258, 277,
		+
		+	278, 282, 324
		+
		+	Olivier, Adam and Band, 184
		+	Olympia Band, 171, 201
		+	Omaha (Nebr.), 217
		+	Omolu, 345
		+
		+
		+
		+	mil
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	On the Trail of Negro Folk-Song
		+	(Dorothy Scarborough), 35, 59, S2 9
		+	84
		+
		+	101 Ranch (Cabaret), 220
		+
		+	102 Ranch (Cabaret), 220
		+	Onward Brass Band, 221, 222
		+	Original Creole Band, 201, 218, 221,
		+
		+	222, 262
		+
		+	Original Dixieland Five, 213
		+	Original Dixieland Jazz Band, 206,
		+
		+	208-14, 215, 220, 221, 228, 236, 262,
		+
		+	274, 276
		+
		+	Original Hot Five, 263
		+	Original Memphis Five, 263, 264, 265,
		+
		+	266
		+
		+	Original Superior Band, 186
		+	Original Zenith Brass Band, 166, 167
		+	Orleans Street (New Orleans), 154
		+	Ory, Edward (Kid), xii, 179, 180, 185,
		+
		+	242, 245, 247, 252, 255, 256, 257, 261,
		+
		+	284-86, 289, 337, 338
		+	Ory's Brownskin Band, Kid, 201, 222,
		+
		+	224
		+
		+	Ory's Creole Jazz Band, 179
		+	Our New Music (Aaron Copland), 335
		+
		+	Pace, Kelly, 52
		+	Palmer, Roy, 201, 218, 231
		+	Panassie, Hugues, 270, 322, 323
		+	Paramount Records, 83, 84, 124 3 134,
		+
		+	145, 224, 232, 243, 258, 297, 298, 305,
		+
		+	308, 309, 315
		+
		+	Parentf s Famous Melody Boys, 213
		+	Paris; 8, 49, 270, 327, 331
		+	Parked Travels, 50
		+	Parlophone Records (English), 235,
		+
		+	308, 309
		+
		+	Parrish, Lydia, 50, 168
		+	Parthenon, 99
		+
		+	Pedau (or Pedaux), Mme, 179
		+	Pekin Cafe, 223
		+	Pennsylvania, 283
		+
		+	Perdido Street (New Orleans), 198
		+	Perez, Emanue 179, 180, 201, 221,
		+
		+	222
		+
		+	Pergola Dancing Pavilion, 223
		+	Perkins, Dave, 206
		+	Perryman, Rufus, 292, 299
		+	Perseverance Benevolent Society, 155
		+	Petit, Buddy, 180, 201
		+	Petit, Joseph, xii, 180
		+	Pettis, Jack, 214
		+	Phcedrus, The, 99
		+	Pharaoh, 51
		+
		+	Phillips, Sister Berenice, 78, 338
		+	Piazza, "Countess" Willie V., 204
		+	Picasso, Pablo, 49
		+
		+
		+
		+	Picou, Alphonse, xii, 170, 180, 201
		+
		+	Pictures of New Orleans, 245
		+
		+	Pierce and His Orchestra, Charles, 232
		+
		+	Piety Street (New Orleans), 153
		+
		+	Pinewood Tom, 142
		+
		+	Piron, Armand, 170, 179, 269
		+
		+	Piron's Orchestra, Armand, 165, 179
		+
		+	Pittsburgh (Pa.) 3 217
		+
		+	Poe, Edgar Allan, 159, 360
		+
		+	Ponchartrain, Lake, 174, 182, 286, 293
		+
		+	President (#.#.), 217
		+
		+	Pridgett, Jr., Thomas, 123
		+
		+	Primrose Orchestra, 201
		+
		+	Prohibition, National, 114, 204, 272,
		+
		+	273, 304
		+
		+	Prosody, Greek and Latin, 94
		+	Providence HaU, 181
		+	PurcelTs Cafe, 223
		+
		+	Querschnitt, Der, 329
		+
		+	Quintette of the Hot Club of France,
		+
		+	270
		+	Quod libet, 239
		+
		+	Rabbit Foot Miwtrek, 123
		+	Rachmaninoff, Sergei, 329
		+	Raff, The, 323
		+	Ragas, Henry, 211, 212, 213, 220
		+
		+	(Ma), 83, 84, 110-
		+
		+
		+
		+	^, 123-30, 133, 134, 135, 136, 137,
		+
		+	138, 139, 142, 143, 145, 148
		+	Rainey, Will (Pa), 123
		+	Rameau, Jean Phillippe, 8
		+	Rampart Street (New Orleans), 246
		+	Ramsey, Frederic, Jr., xi, 179, 182, 185,
		+
		+	323, 332
		+
		+	Random Harvest, 313
		+	Rappolo, Leon, 214, 215, 227, 229, 231
		+	Ravel, Maurice, 329
		+	Ray, Louis, 181
		+	RCA (Radio Corporation of Amer-
		+
		+	ica), 244
		+
		+	RCA-Victor, 244
		+	Real Jazz, The (Hugues PanassI6),
		+
		+	323
		+
		+	Reconstruction period, 245
		+	Redd, Alton, 179, 337
		+	Reddick, Dr. L. D., xi
		+	Red Hot Peppers, see: Morton and
		+
		+	His Red Hot Peppers
		+	Redman, Don, 283, 286
		+	Regular Baptists (Trinidad), 347
		+	Reinhardt, Django, 270
		+	Reinherz, Sid, 315
		+	Reliance Brass Band, 205, 208, 212
		+	Reuter, E. B., 342
		+	Rex, King of Carnival and Misrule,
		+
		+	154
		+
		+
		+
		+	INDEX
		+
		+
		+
		+	Rhythmakers, The, 275
		+
		+	Rice's Hall, 221
		+
		+	Richmond (Va.), 66
		+
		+	Ripley, Robert, 147
		+
		+	Robechaux, John (and Band), 179,
		+
		+	180
		+
		+	RobertE.Lee ($.#.), 153
		+	Roberts, C. Luckeyeth (Lucky), 157,
		+
		+	314
		+
		+	Robertson Street (New Orleans), 198
		+	Robertson, Zue, 201
		+	Robeson, Paul, 15, 76
		+	Robinson, Bill (Bojangles), 189
		+	Robinson, Fred, 286
		+	Robinson, Jim, xii, 165, 186, 187, 189,
		+
		+	337
		+
		+	Robinson, J. Russel, 213
		+	Rocco, Maurice, 308
		+	Rogers, Ernest, 186
		+	Rollini, Adrian, 263, 271
		+	Rollini and His Orchestra, Adrian, 271
		+	Romantic music, 200, 229, 290, 320;
		+
		+	French, 281
		+	Rome, 68
		+	Roth, Jack, 263
		+	Rough Riders, 196
		+	Royal Family of England, 305
		+	Royal Gardens, 222, 224
		+	Royal Street (New Orleans), 154, 246
		+	Ruskin, John, 336
		+	Russell and His Orchestra, Luis, 277,
		+
		+	282
		+
		+	Russell, "Peewee," 235, 267, 268, 275
		+	Russell, William, 185, 323
		+
		+	St. Charles Street (New Orleans), 246
		+	St. Cyr, Johnny, xii, 178, 217, 218, 242,
		+
		+	245, 252, 256, 261, 285, 286
		+	St. Louis, 110, 217, 231, 267, 274, 281,
		+
		+	296, 297, 303, 310, 013
		+	St. Louis Exposition, 313
		+	St. Louis Street (New Orleans), 198
		+	St.P<wl(S.S.) 9 2lV
		+	St. Paul (Minn.), 217
		+	Samba, 178
		+	San Francisco, 69, 184, 215, 223, 224,
		+
		+	324
		+	San Francisco Museum of Art, xi, 40,
		+
		+	185, 278
		+
		+	San Juan Hill, 196
		+	Sankey-Moody, 347
		+	Saratoga (N. Y.), 205, 361
		+	Saratoga Club, 277
		+	Sargeant, Winthrop, 336
		+	Sarrapede, see : Lytell, Jimmy
		+	Satie, Erik, 8
		+	Saturday Night Function, 141
		+
		+
		+
		+	Saturday Review (London), 361
		+	Savannah (Ga.), 283
		+	Savannah Syncopators, 231, 282
		+	Sbarbaro (Spargo), Tony, 211, 220
		+	Scarborough, Dorothy, 35, 59, 82, 84
		+	Schaeffner, Andr6, 156
		+	Schiller's Caf6, 220
		+	Schoebel, Elmer, 214
		+	Schomburg Collection of Negro Liter-
		+	ature and History, xi
		+	Schonberg, Arnold, 32, 200
		+	Schumann, Robert, 307
		+	Schutt, Arthur, 265
		+	Scotch hymns, 25
		+	Scott, Arthur (Bud), xii, 179, 337
		+	Scott, James, 312, 313
		+	S-D Records, 319
		+	Session Records, 305, 314
		+	Shakespearian tragedy, 200
		+	Shango, 75, 346
		+	Shaw, Artie, 266, 272
		+	Shayne, J. H. (Mr. Freddy), 337
		+	Sherman Hotel, 236
		+	Shields, Larry, 209, 211, 212, 213, 214,
		+
		+	220
		+
		+	Shipp, Katherine and Christine, 90
		+	Shreveport (La.), 54
		+	Shrove Tuesday, 153
		+	Sicilian song, 214
		+	Sidney (S.S.) 9 m, 217
		+	Signature Records, 83, 297, 315
		+	Signorelli, Frank, 263, 265
		+	Silent Grove Baptist Church at Clarks-
		+
		+	dale, Miss., 78, 356
		+	Simeon, Omer, xii, 179, 242, 245, 252,
		+
		+	289, 337
		+
		+	Singing Christian, 142
		+	Singleton, Zutie, 286
		+	6th and 7th Book of Moses, 298
		+	Skinny Head Pete, 293
		+	Slave Songs of the Georgia Sea Islands
		+
		+	(Lydia Parrish), 50, 168
		+	Smith, Bessie, 111, 112, 123, 124, 129-
		+
		+	34, 135, 136, 138, 139, 142, 143, 306,
		+
		+	336
		+
		+	Smith, Captain John, 48
		+	Smith, Charles Edward, 182, 220, 323
		+	Smith, Clarence (Pinetop), 115, 308,
		+
		+	304, 307, 308
		+	Smith, Stuff, 271
		+	Snyder, Frank, 214
		+	Sobel, Judge Nathan R., xi
		+	Society for the Preservation of the
		+
		+	Spirituals, 353
		+
		+	Solo Art Records, 300, 305, 308
		+	Sous a, John Philip, 328
		+	South America, 276
		+
		+
		+
		+	INDEX
		+
		+	South Carolina, 58
		+
		+	South, Eddie, 270, 271
		+
		+	Spand, Charlie, 311
		+
		+	Spanier, Francis (Muggsy), 230-1,
		+
		+	236
		+	Spanier and His Ragtime Band,
		+
		+	Muggsy, 236, 237, 299
		+	Spanish America, 3
		+	Spanish- American War, 181
		+	Spanish Fort, 293
		+
		+	Speckled Red, see: Ferryman, Rufus
		+	Speckled Red Trio, 299
		+	Spiritual Baptist Church of Toco,
		+
		+	Trinidad, 347, 348
		+	Stacy, Jess, 320
		+	Stafford, George, 145
		+	Stein, Gertrude, 144
		+	Stein, Johnny, 220
		+	Stevens, Mike, 205
		+	Stewart, Rex, 279
		+	Stokes, I. N. Phelps, 276
		+	Stokowski, Leopold, 329
		+	Stomp (dance), 188
		+	Stomp Six, 230, 231
		+	Story, Alderman Sidney, 198
		+	Storyville, 198, 199, 202-4, 219, 220,
		+
		+	221, 222, 223, 246, 296
		+	Stradivarius, 296
		+	Strauss, Johann, 334
		+	Stravinsky, Igor, 8, 281
		+	Strong, Jimmy, 286
		+	Stuart, David, 185
		+	Stults, Robert M., 328
		+	Sturdivant, Bozie, 78
		+	Stuyvesant Casino, 300, 338
		+	"Sugar Johnny," 218, 221
		+	Sullivan, Joe, 145, 320
		+	Sultana (8. 8.), 153
		+	Superior Band, 186, 201
		+	Sweatman's Original Jazz Band, 273
		+	Sykes, Roosevelt, 112, 141
		+
		+	Tack Annie, 167
		+
		+	Tate, Erskine, 14, 258
		+
		+	Tate's Vendome Orchestra, Erskine,
		+
		+	282, 283
		+
		+	Tatum, Art, 268, 289, 320, 321
		+	Taylor, Montana, xii, 119, 120, 304, 307,
		+
		+	311, 337
		+
		+	Tchaikovsky, Kotr Ilyich, 279
		+	Teagarden, Jackson, 145, 268, 271, 272,
		+
		+	275, 287
		+
		+	Tennessee, 115, 123, 253, 256, 303
		+	Tennessee Tooters, 265
		+	Terpsichore, 154
		+	Teschmaker, Frank, 232-5, 236, 267,
		+
		+
		+
		+	Texas, 52, 53, 54, 55, 84, 184, 243, 303,
		+
		+	351
		+
		+	Texas Centennial Exhibition, 213
		+	Theatre Owners* Booking Association
		+
		+	(T.O.B.A.), 123
		+	Thessalonia, plains of, 97
		+	They Seek a City (Bontemps and Con-
		+
		+	roy), 134
		+
		+	This is Jazz (Rudi Blesh), 40, 278
		+	Thomas, Hersal, 137, 303, 311
		+	Thomas, Hociel, 111, 136, 137
		+	Thomson, Virgil, xii, 144, 331, 332
		+	Times-Picayune (New Orleans), 10
		+	Tin Pan Alley, 127, 169, 205, 258, 269,
		+
		+	290, 336
		+
		+	Tintype Hall, 181
		+	Tio, Lorenzo, Jr., 201
		+	Tio, Lorenzo, Sr., 176, 180, 252
		+	"Tippling Tom," 304
		+	T.O.B.A., see: Theatre Owners' Book-
		+	ing Association
		+	Toco, Trinidad, 347, 348
		+	Tombs, The, 276
		+	"Toothpick, The," 304
		+	To War on Jazz with Better Songs >
		+
		+	327
		+
		+	Towe, J. B., 65
		+	Town HaU, 300
		+	Travels in the Congo (Andr6 Gide),
		+
		+	296
		+
		+	Trigger Sam, 293
		+	Trinidad, 347, 348
		+
		+	Tulane University Gymnasium, 222
		+	Turner, Joe, 311
		+
		+	Turpin, Thomas Million, 312, 313, 310
		+	Twain, Mark, see: Samuel Clemens
		+	"25" Club, 201, 222
		+	Tyers, W. H., 186
		+
		+	Uncle Remus stories, 63, 133, 218
		+	Uncle Tom, 218
		+
		+	United Hot Clubs of America, 323
		+	Unspeakable Jazz Must Qo > 327
		+	U. S. Government, 202
		+
		+	Varley, Douglas H., 52
		+
		+	Venuti, Joe, 269, 270, 271
		+
		+	Victoria, Queen, 336
		+
		+	Victor Records, 103, 106, 144, 145, 214,
		+
		+	221, 244, 245, 254, 272, 274, 305, 308,
		+
		+	309, 317, 319, 321
		+	Vieux Carr6, 151
		+	Vffla-Lobos, Hector, 332, 333
		+	Virginia, 85
		+
		+	Virginia Minstrels, The, 359
		+	Vocalion Records, 119, 235, 254, 305,
		+
		+	311, 319
		+
		+
		+
		+	Volstead, Andrew, 204
		+	Voodoo, 161, 298, 346
		+	Voynow, Dick, 228
		+
		+	Wagner, Richard, 229; post-Wag-
		+
		+	nerian music, 8
		+	Walker, Frank, 130
		+	Wallace, Sippie, 111, 136, 139-41
		+	Wallace, Wesley, 310
		+	Waller and His Rhythm, Fats, 2T5
		+	Waller, Thomas (Fats), 274, 275, 317,
		+
		+	318, 320
		+
		+	Wall Street (New York), 10
		+	War Department, 202
		+	Washingtonians, The, 280
		+	Waterman, Richard A., xi, 342
		+	Watters, Lu, 324
		+	Watters' Yerba Buena Jazz Band, Lu,
		+
		+	324
		+
		+	Weinstock, Herbert, xii
		+	West End, 293
		+	West India Company, 276
		+	West Indies, 275
		+	West Virginia, 84, 283
		+	Whaley, Wade, 185
		+	What's the Matter with Jazz? 327
		+	Where is Jazz Leading America? 327
		+	White, Josh, 142, 143
		+	White, Lulu, 199
		+
		+
		+
		+	INDEX
		+
		+	Whiteman, Paul, 13, 195, 227, 230, 269,
		+
		+	277, 287, 327
		+
		+	Wilder's Octet, Alec, 272
		+	Williams' Blue Five, Clarence, 139,
		+
		+	258, 283
		+
		+	Williams, Claiborne and Band, 179
		+	Williams, Jabbo, 311
		+	Williams, Mary Lou, 320
		+	Wilson, Albert (Buster), xii, 179, 337
		+	Wilson, Alfred, 294
		+	Wilson, Teddy, 143, 268, 273, 320
		+	Winged Victory, 99
		+	Wisconsin, 124
		+	Wise, Dr. Stephen T., 328
		+	Witte, Misionar, 52
		+	Witwer, Johnny, 300
		+	Wolverine Orchestra, 227-30, 232, 265
		+	World War I, 7, 270
		+
		+	Yancey, Alonzo, 303, 314
		+
		+	Yancey, Jimmy, xii, 115-18, 303, 305-
		+
		+	7, 314, 358
		+
		+	Yancey, Mama, 116-18
		+	Yoruba, 34, 345, 346
		+	Young, Austin, 186
		+
		+	Zack, George, 236, 299
		+
		+	Zulu, King of the Africans, 154
		+
		+
		+
		+	Xll
		+
		+
		+
		+	INDEX OF MUSIC
		+
		+
		+
		+	Aaron Harris, 83
		+
		+	Ain't Gonna Study War No More
		+
		+	(Down by the River), 167
		+	Ain't Misbehaving 317
		+	Ain't No Grave Can Hold My Body
		+
		+	Down, 78
		+	Albert's Blues, 300
		+	Alice Fields, 170
		+	All Hid? 90
		+	Alligator Crawl, 317
		+	Any Rags? 157
		+	Arwhoolie (cottonfield song), 54
		+
		+	Baby Doll, 130
		+
		+	Baby, I Can't Use You No More, 139
		+
		+	Back Water Blues, 131
		+
		+	Bahutu Songs and Dances, 71
		+
		+	Barbara Allen, 82
		+
		+	Barnyard Blues, 209
		+
		+	Barrel House Stomp, 235
		+
		+	Barrel House Woman, 297
		+
		+	Basin Street Blues, 287
		+
		+	Bass Goin y Crazy, 311
		+
		+	Bear Cat Crawl, 310
		+
		+	Big Boy They Can't Do That, 308
		+
		+	Big Butter and Egg Man, 236
		+
		+	Birmingham Blues, 317
		+
		+	Black and Blue Bottom, 269
		+
		+	Black and White Rag, 169
		+
		+	Black Bottom Stomp, 244-6, 251
		+
		+	Black Brown and Beige, 281
		+
		+	Blind Lemon Blues, 114
		+
		+	Blues for Jimmy, 337
		+
		+	Blues the World Forgot, 134
		+
		+	Blue Washboard Stomp, 255
		+
		+	Bogalousa Strut, 189, 190
		+
		+	Boogie Woogie, 311
		+
		+	Bo-Weavil Blues, 84, 127
		+
		+	Bright Sparkles in de Churchyard,
		+
		+	66
		+
		+	Brown Skin Gals, 298
		+	Bucket's Got a Hole In It, see : There's
		+
		+	a Hole in the Bucket
		+	Bucktown Stomp, 255
		+	Buddy Bolden's Blues, 135, 300
		+	Buffalo Blues, 319
		+	Buffalo Rag, 313
		+	Bugle Call Rag, 273
		+	Bull Fiddle Blues, 255
		+	Bull Frog Blues, 232
		+	Buss Robinson Blues, 311
		+
		+
		+
		+	Cabin In The Sky, 82, 205
		+
		+	Cake Walking Babies, 130
		+
		+	Canal Street Blues, 222, 226
		+
		+	Cannon Ball Blues, 244
		+
		+	Careless Love, 130, 131, 132, 138, 306
		+
		+	Carolina Shout, 316
		+
		+	Casey Jones, 82
		+
		+	Cat Man Blues, 114
		+
		+	Celeste Blues, 310
		+
		+	I'Autre Can-Can, 179
		+
		+	jy, 244, 246, 247, 279, 318
		+	China, Boy, 232
		+
		+	Circumcision Ritual of the Babira, 72
		+	Clarinet Marmalade, 209
		+	Climax Rag, 313
		+	CZo$A* n JSaZfc^ 317
		+	Copenhagen, 278
		+	Com Bread Rough, GO
		+	Cornet Chop Suey, 284
		+	Cotton Blossoms, 168
		+	Cotton-Eyed Joe, 82
		+	tfo^on Pickers' Ball, 277
		+	Counting the Blues, 127, 128
		+	Cow? 00t> Blues, 310
		+	Omw, T&0, 319
		+	Creepy Feeling, 319
		+	Oeofo $0?2^ *00.- C*0s VAutre Can-
		+	Can
		+
		+	Daybreak Express, 280
		+	Dead Man Blues, 244
		+
		+	Letter Blues, 116, 358
		+	Creek Blues, 106
		+
		+	z^, 310
		+	Deep Water Blues, 142
		+	Detroit Rocks, 311
		+	Diamond Joe, 54
		+	Diminuendo and Crescendo in Blue,
		+
		+	281
		+	Dippermouth Blues, 222, 278, 279
		+
		+	Dozens, The, 299
		+	e, 359
		+	Diatt'0 /ass Band One-Step, 209, 211,
		+
		+	212
		+
		+	Doctor Jazz Stomp, 135, 244, 249-51
		+	Don't Go 'Way Nobody, 157, 170
		+	Don't Mind the Weather, 54
		+	Do the Georgia, 299
		+	Down by the River, see: Ain't Gonna
		+
		+	Study War No More
		+	Down Home Rag, 337
		+
		+
		+
		+	Xlll
		+
		+
		+
		+	INDEX OF MUSIC
		+
		+
		+
		+	Down In Boogie Alley, 118
		+	Drop That Sack, 167
		+	Drum Improvisation No. 1, 41
		+	Dyin' Rider Blues, 120, 121
		+
		+	"East St. Louis Toodle-o, 280
		+
		+	Eccentric f 236
		+
		+	Empty Bed Blues, 130
		+
		+	En Dat Great Gittin'-up Morning 65
		+
		+	Everybody Loves My Baby, 230
		+
		+	Fat Frances, 319
		+
		+	Fat Meat and Greens, 319
		+
		+	Fifth Symphony (Beethoven), 101
		+
		+	Fine and Mellow, 143, 144
		+
		+	Finger Buster, 319
		+
		+	Five O'Olock Blues, see: Fives, The
		+
		+	Fives, The, 304, 305
		+
		+	Flee as a Bird to the Mountain, 171
		+
		+	'Fo' Day Blues, 307
		+
		+	Foot Pedal Boogie, 311
		+
		+	Four O'Clocks, The, 304
		+
		+	Four Saints in Three Acts, 144
		+
		+	Frankie and Albert, 82
		+
		+	Frankie and Johnny, 82
		+
		+	Franky Baker, 82
		+
		+	Freakish, 319
		+
		+	Froffimore Rag, 319
		+
		+	Frog Legs Rag, 313
		+
		+	Frog Went A-Courting, 82
		+
		+	Gambler's Dream, 136, 137
		+
		+	Gambling Man, The, 67
		+
		+	Gatemouth, 257
		+
		+	Gay Negro Boy, The, 359
		+
		+	Georgia Camp Meeting, 169
		+
		+	Get It Right, 170
		+
		+	Get Low-Down Blues, 281
		+
		+	Get Out of Here, 337
		+
		+	Gettysburg March, 154
		+
		+	Goin' Away Blues, 311
		+
		+	Gon f Knock John Booker to the Low
		+
		+	Ground, 90, 95, 96
		+	Got No Blues, 284
		+	Grace and Beauty, 313
		+	Grandpa's Spells, 244
		+	Green Corn, 60
		+
		+	#r^ #00*0, The, 82, 86, 87, 147, 346
		+	Guest of Honor, A, 312
		+	Gully Low Blues, 284
		+	Gut Bucket Blues, 285
		+
		+
		+
		+	A Dream, 310
		+	Hamfoot.Man, 167
		+	Hangman's Tree, 82
		+	Hare? Drtofo' Papa, 130
		+	Harlem Fuss, 274
		+
		+
		+
		+	Hastings Street, 311
		+
		+	-Head JRa# .Hop, 311
		+
		+	Heaving the Lead Line, 51
		+
		+	Heebie Jeebies, 285
		+
		+	Hell Hound on My Trail, 121, 122
		+
		+	Hello Lola, 267
		+
		+	Henry Brown Blues, 297, 298
		+
		+	High Society, 154, 222
		+
		+	#000 Rag, 315
		+
		+	Home Cooking, 235
		+
		+	.Honfcy ^0^ Htmc,, 202, 319
		+
		+	Honky Tonk Train Blues, 308, 309
		+
		+	House Rent Rag, 254
		+
		+	How Long Blues, 118, 126, 138
		+
		+	How-Long -How-Long, 311
		+
		+	Hurry Angel Hurry, 60
		+
		+	I .dfw a Soldier in the Army of My
		+	Lord, 36, 356
		+
		+	I Can't Get Started, 272
		+
		+	I Can't Say, 257
		+
		+	I Ca^'tf Sleep, 119, 120
		+
		+	I Couldn't Hear Nobody Pray, 78
		+
		+	I/ I Ever Cease To Love, 154, 166, 170
		+
		+	I Hope My Mother Will be There, 66
		+
		+	I'm Goin 3 Huntin', 254
		+
		+	I'm Going to Leland, 352
		+
		+	I'm Gonna Lift up a Standard for my
		+	King, 70-2
		+
		+	I'm Just Wild About Animal Crackers,
		+	280
		+
		+	I'm Runnin* for My Life, 355
		+
		+	I'm Sober Now, 308
		+
		+	In a Mist, 229
		+
		+	In dem Long Hot Summer Days, 54
		+
		+	In de Mornin', 310
		+
		+	Indiana Avenue Stomp, 311
		+
		+	In New Jerusalem, 78
		+
		+	Isn't It Hard to Love? 166, 170
		+
		+	I Thought I Heard Buddy Bolden Say,
		+	135
		+
		+	I Used To Be Above Love, 272
		+
		+	I've Got A Feeling I'm Falling, 817
		+
		+	I've Got a Hidin' Place, 355, 356
		+
		+	I Wish I Could Shimmy Like My Sis-
		+	ter Kate, 170
		+
		+	Jab Blues, 311
		+
		+	Jazzbo Brown, 130
		+
		+	Jazz Me Blues, 228
		+
		+	Jelly Bean Blues, 127
		+
		+	Jelly Roll Stomp, 299
		+
		+	Jesus Goin' to Make Up My Dying
		+
		+	Bed, 76-9
		+
		+	Jesus Lover of My Soul, 347, 348
		+	Joe the Grinder, 54
		+	Joe Turner Blues, 170
		+
		+
		+
		+	XIV
		+
		+
		+
		+	INDEX OF MUSIC
		+
		+
		+
		+	Jogo Blues, 146
		+
		+	John Henry, 84, 85, 140
		+
		+	Juba, 59, 60, 102
		+
		+	Jumpin' Judy, 52, 53, 352
		+
		+	Jump Jim Crow, 167
		+
		+	Jump Steady Blues, 308
		+
		+	Junk Man, 272
		+
		+	Junk Man Raff, 157, 314
		+
		+	Just Hot, 264
		+
		+	Just Rockin', 142
		+
		+	Kaycee on My Mind, 311
		+
		+	Keep Off the Grass, 315
		+
		+	Keep On Knockin' : But You Can't
		+
		+	Come In, 170
		+	Ketu for Shango, 346, 347
		+	Ring Porter Stomp, 319
		+
		+	Last Minute Blues, 148
		+
		+	Lazy River, 299
		+
		+	Levee Camp Mdan, 127
		+
		+	Liebestod (Tristan und Isolde) ,200
		+
		+	Liebestraum, 249
		+
		+	jfffl Farina,, 280
		+
		+	ito, 254
		+
		+	? Brown Jug, 166
		+	Little Girl, Little Girl, 90, 91, 352
		+	Little Rock Getaway, 320
		+	Livery Stable BUes, 209
		+	Lonesome Day Blues, 357
		+	Long Hot Summer Days, 53
		+	Long John, 53, 351, 352
		+	Look Down that Long, Lonesome
		+
		+	Road, 352
		+
		+	Lookin' Good But Feelin' Bad, 275
		+	Low Down Bugle, 307
		+	Lucy Long Walk Around, The, 359
		+
		+	Mabel's Dream, 225, 226
		+
		+	Mah Jong, 315
		+
		+	Maid Freed From the Gallows, The,
		+
		+	82
		+
		+	Make Me a Pallet on the Floor, 39, 170
		+	Mamamita, 319
		+	Mamie, 115
		+
		+	Mamie's Blues, 135, 136
		+	Manbetu Songs, 53, 355
		+	Mandy Lee Blues, 226, 227
		+	Manhattan Stomp, 300
		+	HapZe 0a/ JBa^ 169, 312
		+	Mealtime Call, 54
		+	Mecca, Flat Blues, 311
		+	3>0 Me In Jerusalem, 78
		+	Memphis Shake, 254
		+	Michigan Water BUes, 135
		+	Midnight Bfaes, 278
		+	Midnight Stomp, 305
		+
		+
		+
		+	Mighty LaW a Rose, 280
		+
		+	MZ& Cott> Btos, 142
		+
		+	Milneburg Joys (Milenburg Joys), 265
		+
		+	.Mwor Dra^r, TTie, 274
		+
		+	Mr. Boll Weevil, 82-4
		+
		+	Jfr. Freddy's Rag, 315
		+
		+	Jfr. /e% Lord, 244
		+
		+	Mister Joe, 319
		+
		+	^ 315
		+
		+	Blues, 146, 230
		+	Moonlight Cocktail, 314
		+	Moonshine Blues, 127
		+	Morning After Blues, 267
		+	Muscle Shoal Blues, 317
		+	Muskrat Ramble, 284.
		+	Jft*^ <mtf /^ 209
		+	Jf# Maryland, 337
		+
		+	iVafcetf Dance, The, 319
		+	^ 320
		+	fc, 337
		+	Nobody Knows the Trouble I've Seen,
		+
		+	139
		+	Nobody Knows You When You're
		+
		+	Down and Out, 130
		+	Nobody's Fault But Mine, 111
		+	Nobody's Sweetheart, 232, 233
		+	Norah (Noah), 84, 85
		+	Now I Ain't Got Nothin' at All, 308
		+	No. 29, 310
		+	Numb Fumbling, 317
		+
		+	Oh, Didn't He Ramble, 171, 337
		+
		+	Oh, Sister, Ain't That Hot? 237
		+
		+	Old Uncle Rabbit, 90, 92, 95
		+
		+	Ole Mars'r Had a Yaller Gal, 82
		+
		+	Ole Zip Coon, 167
		+
		+	Ol' Riley, 54
		+
		+	One Hour, 268
		+
		+	Original Dixieland One-Step, 211, 213,
		+
		+	214
		+
		+	Original Jelly Roll Blues, 244
		+	Original Rags, 312, 319
		+	Otello, 144
		+
		+	Padlock, The, 359
		+
		+	Pallet on the Floor, ll$-8
		+
		+	Panama, 154, 186, 214, 215
		+
		+	Panther Rag, 315
		+
		+	Papa Dip, 257
		+
		+	Parlor Social de Luxe, 140, 141
		+
		+	Pass the Jug, 299
		+
		+	Pearls, The, 319
		+
		+	Pp, 319
		+
		+	Perdido Street Blues, 256
		+
		+	Pine Top's Slues, 308
		+
		+	Top's Boogie Woogie, 303, 308
		+
		+
		+
		+	INDEX OF MUSIC
		+
		+
		+
		+	Poor Little Johnny, 90, 93, 94
		+
		+	Poor Man's Blues, -130
		+
		+	Porgy and Bess, 204, 353
		+
		+	Potato Head Blues, 286
		+
		+	Precious Lord Hold My Hand, 111
		+
		+	Pretty Baby, 294
		+
		+	Pullin' the Skiff, 90-3
		+
		+	Put It Right Here, 130, 132, 133
		+
		+	Quittin' Time Bongs, 54
		+
		+	Rag Alley Drag, 307
		+
		+	Raidin 3 Squad Blues, 114, 115
		+
		+	Railroad Train Blues, 314
		+
		+	Rampart Street Blues, 265
		+
		+	Red Hot Dan, 274
		+
		+	Reminiscing in Tempo, 281
		+
		+	Rhapsody in Blue, 195
		+
		+	Rigoletto, 176
		+
		+	Ripples of the Nile, 314
		+
		+	Riverboat Shuffle, 271
		+
		+	Rocks Cried Out, "There's No Hidin'
		+
		+	Place/' 139
		+	Roll 'Em Pete f 311
		+	Rosie, 352
		+
		+	JRos* Tavern Boogie, 300
		+	Run, Nigger, Run, 55
		+
		+	i,, OZrf Jeremiah, 72-6, 188
		+
		+
		+
		+	Sacre du Printemps, S
		+
		+	St. Louis Blues, 103, 146
		+
		+	St. Louis Gal, 265
		+
		+	St. Louis Rag, 313
		+
		+	#. Louis Stomp, 299
		+
		+	Salutation March, 166
		+
		+	Savoy Blues, 285
		+
		+	#<?a iow, Woman, 90, 92, 93
		+
		+	0a*Z<? Hunch, 319
		+
		+	Section Hand Blues , 140
		+
		+	50 #00 jftider, 127, 128, 129, 143
		+
		+	Shave *Em Dry, 126, 127
		+
		+	Short Dress Gal, 170
		+
		+	Shortenin' Bread, 90, 93
		+
		+	/Sftowtf /or Joy, 311
		+
		+	Shreveport Farewell, 296, 297
		+
		+	5% <m< %, 314
		+
		+	Sidewalk Blues, 244, 245, 248, 249, 251
		+
		+	Six Wheel Chaser, 310
		+
		+	Sheet and Oarrett, 141
		+
		+	Skew Ball, The Noble, 82, 85
		+
		+	Slow Driving Moan, 127
		+
		+	Smashing Thirds, 317
		+
		+	Smoke House Blues, 244, 247
		+
		+	Snake's Hips, 263
		+
		+	Snowball, 299
		+
		+	Solitude, 321
		+
		+
		+
		+	Someday Sweetheart, 236
		+	ft, 337
		+
		+	JEM Boogie, 310
		+	flicfe Shuffle, 300
		+	Southern Blues, 145
		+	Southern Casey Jones, 358
		+	Spider Man's Blues, 130
		+	$ac& O' .Lee JSZe$, 83, 127
		+	Stagolee, 82, 83
		+
		+	ojf Tennessee Blues, 103
		+	Away, 78
		+	Steamboat Stomp, 244, 247, 248
		+	Stewball, 85
		+
		+	Stomping 'Em Down, 319
		+	Stormy Weather, 292
		+	Strange Fruit, 144
		+	Strawberries, 353
		+	Streamline Train, 310
		+	Street Cries of Charleston, The, 353,
		+
		+	354
		+
		+	$rw TA Thing, 293
		+	Sugar, 235
		+	Sugarfoot Stomp (Dippermouth
		+
		+	Blues), 278, 279
		+	Suitcase Blues, 311
		+	Sweetest Story Ever Told, The, 328,
		+
		+	329
		+	Sweetheart O' Mine, see: Frogimore
		+
		+	Rag
		+
		+	Swing Low, Sweet Chariot, 65
		+	Symphony No. 5 (Beethoven), 101
		+
		+
		+
		+	Hammer, 56
		+	T B JBfcet, 114
		+	TftaZ Da Da Strain, 236
		+	Tftato a Serious Thing, 144, 145
		+	There'll Be a Hot Time in the Old
		+
		+	Town Tonight, 196, 197
		+	There's a Hole in the Bucket, 170
		+	85th Street Blues, 319
		+	Tiger Rag, 38, 177, 191-5, 209
		+	Tillie's Downtown Now, 235
		+	Too Tight, 256
		+	To-Wa-Bac-A-Wa, 170
		+	Travellin' Blues, 115, 309, 310
		+	Treemonisha, 312
		+	Tristan und Isolde, 32, 200
		+	Trouble Everywhere I JSoaw, 139, 140
		+	Trouble In Mind, 138, 139
		+	Twelfth Street Rag, 344
		+
		+	Variations On a Theme, 310
		+	Verklarte Nacht, 32, 200
		+
		+
		+
		+	Blues, 146
		+	, 140
		+
		+
		+
		+	INDEX OF MUSIC
		+
		+	Weary City Stomp, 255 Won't You Please Come Home, Bill
		+
		+	Weather-Man, 271, 272 Bailey? 170
		+
		+	Welfare Blues, 299 Wringing and Twisting, 229
		+
		+	West End Blues, 286, 287
		+
		+	When I Lay My Burden Down, 78 Tancey's Bugle Call, 306, 307
		+
		+	When the Saints Go Marching In, 167, Yancey Stomp, 305
		+
		+	171 Yellow Dog Blues, 146, 275
		+
		+	When You Feel Low down, 141 Yes, Fm in the Barrel, 285
		+
		+	Whistling Blues, 310 You Got to Fix It, 299
		+
		+	Whistling Rufus, 169 You're Not the Only Oyster in the
		+	Winin' Boy, 135, 136, 319 Stew, 318
		+
		+	Wolverine Blue, 244, 300 You've Been a Good Ole Wagon, 130
		+
		+
		+
		+	XVII
	{{GFDL}}		{{GFDL}}

---

Current revision

"Now with Negro jazz beginning to emigrate from New Orleans, let us examine the white jazz of that city. This music, which is called Dixieland, is an interesting cultural phenomenon. It is the first instance of a sincere adoption by the white man of an Afro-American art and, so far as I am able to estimate, it remains the sole instance."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 204 "New York Negro swing centers around three big bands, that of Henderson, Luis Russell and His Orchestra which played at the Saratoga Club in 1929, and Duke Ellington's large group which played at the Kentucky Club in 1926 and at the Cotton Club In 1927."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 277 "The development of swing music began in the early 1920s. Swing, which is not jazz, is a type of European music with transplanted Negroid characteristics. Even when produced by Negroes, it is Negroid only in surface manner." --Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, introduction "Ellington's fame is now such that he gives Carnegie Hall concerts of a swing completely divorced from dance function, a tea dansant music trapped out with his borrowed effects from jazz, the Impressionists, and the French Romantics. Some hail him as a foremost genius of modern music, a few lament that "the Duke has forsaken jazz." Both are wrong: the laurels of Hindemith, Stravinsky, and Bartok are safe and, as for jazz, the Duke has never played it."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 281 The researches of Doctor George Pullen Jackson and Professor George Herzog show a considerable part of the melody in Afro-American music to be of Scotch-Irish-English origin. There is a traditional scientific point of view, exemplified by men like E. F. Frazier, E. B. Reuter, Charles S, Johnson, and others, which argues against the survival of Africanisms among Western hemisphere Negroes. The contrary view, with its rich and accumulating evidence, of a general survival of cultural Africanisms, finds its strongest champion in Professor M. J. Herskovits (who originally held the counterview) and has strong advocates in men like M. Kolinski and Richard A. Waterman."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 342 "A valuable study of West African music is the unpublished manuscript, Die Musik Westafrikas, by M. Kolinski, in the anthropological library at Northwestern University. Much of this study is based on the 600 or more cylinder recordings, chiefly Dahomean, made in Africa in 1931 by M. J. and F. S. Herskovits. Some of the data used in the following comparison of African and Afro-American music are drawn from this source. "--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 34 "For time untold the River had carried mud down, most of it swept out into the sea, a small part rescued in the land's final clutch. And now, the city founded, the ocean currents began to bring inland deposits of a different sort, human flotsam, hardy adventurers, priests, thieves, cutthroats, pimps, and girls of easy virtue recruited in France to assuage loneliness. Men of many kinds and conditions from widespread parts of the world, in two hundred years the living deposits came to include French, Spanish, Italians, the exiled Acadians, Americans, and, of course, the Negroes, first from West Africa, later by way of Haiti and other Caribbean islands : white sediment and black sediment settling out in strata on the wet brown mud."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 152 "Latin-American music came plentifully into the seaport, New Orleans, bringing the characteristic guitar. The tango and habanera rhythms entered into classic jazz and these, like the Samba and Conga, are rhythms of at least secondary African origin, found variously in Brazil, Cuba, and the Caribbeans."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 178 "The musical styles of various African areas are not yet fully documented or differentiated, though important work is in progress. The West Coast area, from which the slaves were taken, concerns us, particularly the related musics of Dahomey, the Ashanti, and the Yoruba. According to Herskovits, a large proportion of the slaves in New Orleans were of Dahomean provenance, brought there directly from Africa or from the Caribbean islands, particularly Haiti."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 34 "Romantic nineteenth-century European music, particularly German, entered with the Wolverines. The cloying, sentimental sweetness though it may stem more directly from the "schmaltzy" little "oompah" band than from Wagner comes from this source. The classic line of French melody, entering jazz from the quadrille and Creole song, could accord perfectly with the unromantic, unsentimental, pure classicism of Afro-American polyphony. The harmonic wanderings and musings, the adolescent, self-conscious romanticism and phony philosophy of the late German school, on the other hand, smother jazz under a blanket soggy with tears. The Romantic tendency shows clearly in later records by Bix, such as his Wringing and Twisting and, particularly, in his piano solo, In a Mist, a rambling piece in unresolved Debussyesque harmonies. This music does not develop out of jazz and has no real relation to it, but it does prefigure the orchestral efforts of Duke Ellington which are frequently but erroneously considered to be jazz manifestations."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 200 "In the fifth chorus occurs a polyrhythmic exposition of the theme that is of the highest creative order. Compared with the variety and complexity of this rhythmic development the syncopations of Schumann, the dual meters of Brahms ? or even the rhythmic experiments of the modern composers seem almost elementary. The jazz and hot piano of the American Negro may not pursue harmonic or formal melodic development to any but a simple degree, but his polyrhythmic, melodic variation is the utmost modernity." --Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 307 "Jazz is a lean and athletic music, unobsessed with romantic or commercial love. It shuns sentimentality and the languors of romantic desire. It demands monastic and arduous devotion from its practitioners, and when it deals with sex, does so frankly, without shame or furtiveness. While avoiding invidious comparisons, it is scarcely necessary to point out the erotic basis and quality of much revered Romantic music. There are examples like the Tristan und Isolde Liebestod, the Verklärte Nacht of Schoenberg, and many a church Mass, in which the amorous content, enfolded in sensuous textures, even if unrecognized, is none the less gratefully and luxuriously yielded to by most listeners."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 200 "Herein lies the importance, in a cultural and historical sense, of the phonograph record to jazz, more vital than the printed score to Western music."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh "When a serious composer praises jazz music or even swing, it is unbiased praise, for jazz is the music without formal, written scores, composed by the players in the playing, while swing is the field in which the arranger is of much greater importance than the composer." --Shining Trumpets, a History of Jazz (1946) by Rudi Blesh Swing is a reactionary music which sacrifices the truly modern tendencies of polyphonic jazz. And the swing techniques are largely mythical. Dexterity is less than a complete technique. It utilizes the obviously impressive while avoiding the unspectacular, truly difficult things, especially those requiring a genuine melodic and rhythmic creativeness. The present-day solo is esteemed modern and full of ideas in direct proportion to the more unrecognizable it makes the melody. Such "getting off" conceals lack of true invention or the ability to produce logical variation. Swing has been no more modern than styles in women's clothing are modern. Its ceaseless search for novelty, rather than the truly original, has kept it faddishly changing, hectically striving to avoid being out-of-date. It has had from this an euphoric illusion of progress. As a result however while jazz remains modern and in advance of the times swing has steadily deteriorated and is now reaching a nauseous state of disintegration more and more apparent to the public. Its champions are being slowly discredited. It has degenerated during the last five years into the extreme forms of its two categories, sweet and hot. The former has become a completely devitalized, sentimental, hodgepodge of Tin Pan Alley ditty, and the Romantic and Impressionistic types of European music. In theatrical terms it is a tear-jerker. Large string sections are added by bands like that of Tommy Dorsey or even by a once quasi-hot group like that of Basie." --Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 289 "Modern piano is a highly decadent form. One phase is an overornamented, decorative style; another is a pastiche of the Romantics and Impressionists, particularly Delius and Debussy, even interlarded at times with pseudo-boogie-woogie or ragtime."--Shining Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 320

Related e

Wikipedia Wiktionary Shop Featured: Rhombicuboctahedron by Leonardo da Vinci

Shining Trumpets, a History of Jazz (1946) is a book on jazz by Rudi Blesh. The disparaging passage on "Ellington's 'tea dansant music' is often cited.

The work is referenced in This is Pop (2004) edited by Eric Weisbard.

It was one of the first books to speak appreciatively of black music, being preceded by “Black Man's Music” (1933) by Shirley Graham.

'Tea dansant' excerpts

"Another Rollini record, Weather Man (1935), in which the white trumpeter Mannone and others participate in a mixed white and Negro group, makes abortive attempts at improvised ensemble polyphony in the New Orleans manner, but is intelligible only in the solos. The whole is at a rather plodding swing tempo and in a romanticized tea dansant vein."

"Ellington's fame is now such that he gives Carnegie Hall concerts of a swing completely divorced from dance function, a tea dansant music trapped out with his borrowed effects from jazz, the Impressionists, and the French Romantics. Some hail him as a foremost genius of modern music, a few lament that "the Duke has forsaken jazz." Both are wrong: the laurels of Hindemith, Stravinsky, and Bartok are safe and, as for jazz, the Duke has never played it."--p. 281

Blurb

"The whole noisy, exciting, and bespangled history of jazz is in this book. Here are the African backgrounds, the tentative beginnings of an American art in the Delta and New Orleans, the garishly colored heyday of the true New Orleans style, and the stories of the great jazz creators from that day to this. Written by a man who loves his subject, who knows music thoroughly, and who has studied his scenes and characters at first hand, Shining Trumpets is a fascinating and variegated story. Mr. Blesh does not miss any important musical or sociological implications: he has produced a book that is simultaneously a solid, serious history and a controversial piece of advocacy. Here is a whole central aspect of twentieth-century life in the United States told from the inside, and with all its surging vitality and down-to-earthness. No book like it has appeared before."--Dust jacket.

Index [1]

INDEX

(See also special Index of Music, page wni)

Acadians, the, 152

Adams, Tom, 181

Ade, George, 327

Africa, (Vol. 1, No. 1.), 27

African Native Music (Douglas H. Varley), 52

African Negro Music (E. M. Von Hornbostel), 27

Africa, West, 25, 27, 29, 34, 36-8, 42, 43, 45, 53, 64, 92, 95, 97, 106, 133, 152, 172, 188, 275, 292, 328, 342, 343, 346, 347

Afro- American Folksongs (Henry E. Krehbiel), 10

Airdrome Theatre, the, 123

Alabama, 90, 93, 303

Alabam Club, the, 276

Algiers (La.), 154

Algiers Point, 217

Allen, Henry (Red), 275

Amendment, Fourteenth, 148

Amendment, Thirteenth, 148

American Jazz Music (Wilder Hob- son), 76

American Music Records, 337, 338

American Negro, The (Melville J. Herskovits), 47

American Negro Slave Revolts, (Her- bert Aptheker), 59

American Quarter, 160

Ammons, Albert, 115, 303, 308, 310, 311

Amsterdam News, 304

Anderson, Marian, 15, 76

Anderson's Saloon, Tom, 202

Anger Powder, 298

Ansermet, Ernest, 10

Apex Club Orchestra, 272

Aptheker, Herbert, 59

Arcadian Serenaders, 231

Arkansas, 52, 53, 303

Arlington, Josie, 199

Armstrong, Lillian, see Hardin, Lil- lian

Armstrong, Louis, xii, 13, 32, 43, 95, 110, 127, 129, 131, 137, 138, 143, 166, 172, 183, 184, 185, 201, 212, 217, 224, 225, 231, 232, 242, 253, 256-61, 270, 272, 278,, 279, 282, 283-7, 289, 309, 320,331

Army, U. S., 203 Asbury, Herbert, 203, 204 Asch Records, 56, 60 Ashanti, 34, 38, 34 Ash Wednesday, 154 Astaire, Fred, 89 Astor Place (New York), 276 Atkins, Eddie, 201 Atlanta (Ga.) HO, 296 Austin High School, 232 Austin, Lovie, 138

Austin, Lovie and Her Blues Serenad- ers, 126 Autograph Records, 230

Babira, 72, 344

Bach, Johann Sebastian, 81, 297, 339

Bahia (Brazil), 345, 346

Bahutu, 71, 72

Bailey, Buster, 127

Baker, Newton D. } 202

Balinese music, 339

Ballanta, Nicholas, 41

Baltimore (Md), 300

Baquet, Achille, 180, 206

Baquet, George, 180, 201

Barbarin, Isidore, 166

Barbary Coast, 223, 224

Barnes, Harrison, 166

Bart6k, Bela, 281

Basic, Count, 13, 281, 282, 290

Basin Street (New Orleans), *ee

North Basin Street Bay of Biloxi, 151 Beach, Mrs. H. A., 327 Bechet, Sidney, xii, 142, 180, 201, 270,

289 Beethoven, Ludwig van, 101, 108, 110,

182, 185, 195, 254 Beetle, the, 315

Behrmann, Mayor Martin, 202, 203 Beiderbecke, Leon Bismarck (Bix),

227-30, 232, 265, 287, 318 Believe It Or Not (Radio Program),

147

Belle of the West (#.#.), 153 Benin, bronze sculptures of, 27 Berigan and His Boys, Bunny, 272 Berigan, Bunny, 272

INDEX

Berlin, Irving, 313, 336

Berliner's Gramophone Records, Emil,

s 168

Berlioz, Hector, 10

Beulah Land, 63

Bigard, Barney, 245

Big Easy Hall, 181

Biggs, Pete, 286

Birmingham (Ala.), HO, 296

Birmingham Babies, 263

Black Bottom (dance), 188

Black, Louis, 214

Blesh, Rudi, 40, 204, 278

Blind Blake, 311

Blind Sammie, 115, 309, 310

Bluebird Records, 236, 244, 296, 319,

358

Blue Note Records, 143, 308, 309, 338 Blythe, James, 255, 303 Bobcats, 288

Bocage, Peter, xii, 165, 170, 337 Bogan, Lucille, 118 Bojangles, 189 Bolden, Charles (Buddy), 156, 157,

167, 169, 170, 174, 180-3, 184, 195,

196, 222, 252, 257, 314 Bolden's Brass Band, 156, 171 Bolden's Ragtime Band, 156, 180-2,

184, 186, 201 Bontemps, Arna, 134 Booze, Bea, 143 Borowski, Felix, 328 Boston (Mass.), 315 Botkin, B. A., xi Botsford, George, 169 Bowery, 276 Brahms, Johannes, 307 Braud (Breaux), Wellman, 218 Brazil, 29, 178, 345, 346, 349 Brazos River, 54 Bright, Kenneth Lloyd, xi British Museum, 35 Broadway (New York), 276 Brocky Johnny, 293 Broun, Heywood Hale, 162 Brown Band, Tom, 219-21 Brown, Henry, 297, 298 Brown, Joe Washington, 72 Brown, Sidney, 190 Brown, Steve, 214 Brown, Tom, 219, 220 Brumes, George, xii, 169, 209, 214, 236 Brunswick Records, 235, 299, 319, 320 Bucktown Five, 230, 231 Buddy Bottler's Place, 172 Buffalo (N. Y.), 174 Burley, Dan, 303, 337

Burt, Hillma, 201, 294 Bushkin, Joe, 236 Buzzards, 196

Cabin and Plantation Songs, as sung

by the Hampton Students, 66 Cabin in the Sky, 82 Cadman, Charles Wakefield, 328 Cafe" Society, 273, 308, 320 Cairo (111.), 217 Cake Walk, 167, 168, 188 California, 218, 223 California Ramblers, 263 Calinda, 60 Canal Street (New Orleans), 154, 160,

196, 246

Canal Street (New York), 276 Cannon Ball Express, 129, 310 Capitol Night Club, 330 Capitol (&&),2rr Captain Canot, or Twenty Years of an

African Slaver, 50 Cara, Mancy, 286 Carew, Roy, xi Carey's Band, Jack, 201 Carey, Thomas (Papa Mutt), xii, 179,

184, 185, 337

Caribbeans, 3, 34, 152, 167, 178, 276 Carnal Baptists, 347 Carnegie Hall, 281, 288, 308 Carpenter, John Alden, 328 Carr, Leroy, 114 Carroll, Albert, 294 Carr*s Musical Journal, 50 Carter, Benny, 273 Carter, Buddy, 202 Casa Loma Orchestra, 287 Cascades Ballroom, 227 Casoff, Jules, 205 Catholicism, Roman, 29, 346 Catlett, (Big) Sid, 235 Cato, Tab, 181 Cauldwell, Happy, 145 Cavaliers, 81 Chamber Music Society of Lower

Basin Street, 272 Champion Records, 305 Charleston (S. C.), 58 Chartres Street (New Orleans), 246 Chatham Theater, 359 Chausson, Ernest, 8 Cherokee Nation, 357 Chicago, 7, 10, 110, 120, 184, 190, 199,

204, 214, 215, 218-38, 241, 246, 249,

262, 263, 267, 272, 275, 283, 297, 298,

299, 303, 304, 305, 357 Chicago Footwarmers, 242, 254

II

INDEX

Childs Restaurant, 236

Chinese language, 42

Chinese music, 339

Chirico, George, 309

Chocolate Dandies, 273

Chopin, Frederic, 185, 192, 334

Christianity, 29, 59

Christian services, early, 68

Church of God and Christ at Moorhead

Plantation, 70, 72, 355, 356 Church of God in Christ, Clarksdale,

Miss., 355 Cicero, 113

Cincinnati (Ohio), 129 Circle Records, 300, 304, 307, 311, 314,

315, 337, 338

Circumcision Ritual, Babira, 72 Circus Square, 35

Civil War, American, 63, 93, 102, 180 Claridge Hotel, 331 Clayton, Jennie, 103 Clemens, Samuel (Mark Twain), 57 Clemens State Farm, Brazoria, Texas,

53

Cless, Rod, 236, 339 Cleveland (Ohio), 304 Coeuroy, Andr6, 156 Colas, Mrs. Amede", xi Coleman, Austin, 72 Collins, Lee, 138, 337 Collins, "Slick," 304 Collins, Wallace (Colley), xii, 155-

7, 181, 184 Columbia Records, 115, 130, 188, 213,

224, 255, 272, 309 Columbus Band, 180 Columbus (Ga.)s 123 Come Clean Hall, 181 Commodore Records, 237, 299 Comus, 154

Condon, Eddie, 145, 275, 288 Confederate brass bands, 155 Confrey, Zez, 336 Conga, 178

Congo, Belgian, 53, 71, 72, 344, 855 Congo River, 292 Congo Square, 3, 35, 64, 153, 157, 158,

161, 247, 276, 346 Connie's Inn Orchestra, 279 Conroy, Jack, 134 Copland, Aaron, 334 Cornish, Willy, 181 Cotton Club, 277 Cotton Pickers, 229, 263, 264, 265 Cowell, Henry, 194 Creath and His Orchestra, Charlie, 281 Creoles, the, 153, 328

Creoles of Color, 152, 153, 176, 177,

179, 180, 269

Crescent City, 110, 152, 196, 198 Crescent Records, 337, 338 Cricket, The, 180 Crosby and His Orchestra, Bob, 287,

288

Cuba, 178

Cumins State Farm (Gould, Ark.), 52 Customhouse Street (New Orleans),

198, 202

Dahomeans, the, and their music, 10,

34, 39, 92, 118, 120, 344 Dahomey, 34, 38, 41, 343 Dallas (Texas), 114, 184, 213 Damrosch, Dr. Frank, 328 Dance of Life, The (Havelock Ellis),

59

Daniels, Josephus, 202, 203, 204 Dark Rapture, 71 Darrington State Prison Farm (Sandy

Point, Texas), 351 Dave, Johnny, 189 Davenport, Charlie (Cow Cow), xii,

310

Davenport (Iowa), 214, 217, 227 Davis, Charlie, 145 Davis, Sammy, 202, 294 Dawn Club, 324 Debussy, Claude, 229, 281, 320 Decatur Street (New Orleans), 246 Decca Records, 235, 287, 357 Decou, Walter, 186 De Labbe Cafd, 220 DeLaunay, Charles, 263, 323 Delius, Frederick, 281, 320 Delta, Mississippi, 151 Delta Records, 162 De Luxe Cafe, 218, 221 Denis-Roosevelt African Expedition,

71, 72

Desire Street (New Orleans), 153 Des Moines (Iowa), 174 "Detroit Red," 304

Dewey, Lawrence, see Dube", Lawrence Diamond Stone Band, 180 Dickerson's Orchestra, Carroll, 282,

283

Dix, Gertrude, 203 Dixieland Jass Band, see Original

Dixieland Jazz Band Dixieland Jug Blowers, 254 Dodds, Johnny, 137, 223, 225, 226, 227,

231, 234, 242, 244, 253-7, 261, 266,

278, 284-6, 337 Dodds's Trio, Baby, 300

III

INDEX

Dodds, Warren (Baby), xii, 40, 138,

157, 166, 217, 223, 224, 234, 242, 244,

255, 261, 286, 300 Dodds's Washboard Band, Johnny,

254, 255

Dominique, Natty, 254 Dorsey, Jimmy, 265 Dorsey, Tom (Georgia Tom), xii Dorsey, Tommy, 265, 272, 290 Down Beat, 147, 169 Dreamland Caf e", 222, 223 Drury Lane (London), 359 Dryades Street (New Orleans), 221 Dune" (Dewey), Lawrence, 201, 218,

222

Dumaine, Louis, 183 Dumaine's Jazzola Eight, Louis, 212 Duquesne Gardens, 220 Dusen, Frankie, 184 Dutrey, Honore, 180, 223, 225, 231, 242

Eagle Band, 171, 184, 201, 221

Early's Cabaret, Frank, 201

Economy Hall, 181

Eddie's Hot Shots, 144, 145

Edison, Thomas Alva, 210

Edwards, Eddie, 211, 212, 213, 214, 220

Egypt, 63, 258, 330

Ellington, Duke, 13, 134, 144, 229, 259,

260, 266, 277, 280, 281, 320, 31 EUis, Havelock, 59 Elysian Fields, 97 Emancipation, 3, 52, 61-3, 98, 148, 156,

157, 167, 180, 196, 199, 262, 360 Emmet, Dan, 359 Empress of the Blues , 129. See also:

Smith, Bessie England, 81, 359 English language, 94 Enterprise (#.#.), 153 Ertegun, Nesuhi, xi, 155 Esquire, 289 Etude, 327

Europe's Band, Jim, 270 Evans, Roy, 190 Evans, Stomp, 256 Ewell, Don, 300 Excelsior Band, 180 Ezell, Will, 297, 815

Farmer, Harold, 304 "Fate" Motive, 101 Faure*, Gabriel, 8 Fenner, Thomas P., 159 Fewclothes' Cabaret, George, 201 Field (Filhe), George, 221 Finck, Henry T., 328

Fisk College (later, Fisk University),

15, 159

Fisk Jubilee Singers, 76, 146, 159 Five Century Grass, 298 Florida, 84, 360 Fort Worth (Texas), 114, 174 Foster, George (Pop), xii, 184, 217,

275

Fouchet, Earl, 189 France, 8, 152, 153, 179, 270, 271, 322,

323

Franck, C6sar, 8, 281 Franklin Street (New Orleans), 198 Frazier, E. F., 342 Freedom's Journal, 276 Freeman, Bud, 232, 235 French Opera House (New Orleans),

3, 176 French Quarter, The (Herbert As-

bury), 203, 204 French Quarter (New Orleans), 151,

198

Friars' Inn, 227 Friars Society Orchestra, 214 Frisco and McDermott (vaudeville

team), 219

Fuller, Blind Boy, 115 Fuller, Earl, 274 "Funky Five," 804

Gabon, wood sculptures of, 27, 45 Galvez Street (New Orleans), 246 "Game Kid," The, 202, 293 Gande, Al, 228

Garfield, President James A., 155 Garland, Ed \Montudi), xii, 179, 223,

286, 337

Geary Theatre (San Francisco), 185 General Records, 319, 355 Gennett Records, 214, 224, 226, 228,

230, 243, 273, 280, 815 George V, 305 Georgia, 123, 283 Georgia Breakdown (dance), 188 Georgians, The, 263 Georgia Sea Islands, 60, 168 Georgia Smart Set, Holecamp's, see:

Holecamp's Georgia Smart Set

13, 195, 204, 336, 353 5, 296 Gillette, Bob, 228 Gillum, Jazz, 113, 142 Globe Hall, 181 Godfrey, Hettie, 90 Gold Bug, The (Edgar Allan Poe), 860 Gold Coast, 328 Golden Age of jazz, 13, 15, 239

INDEX

Golden Gate Quartet, 85-7 Goldkette, Jean, 230, 269 Gombo Zhebes (Lafcadio Hearn), 64 Gonsoulin, Bertha, xii, 224 Goodman, Benny, 143, 266, 271, 272,

277, 289, 336

Goodman Quartet, Benny, 271 Goodman Quintet, Benny, 271 Goodman Trio, Benny, 271 Goofer Dust, 298 Goofus Five, 263 Gowans, Brad, 263 Graham, Ora Dell, 90 Grande, Vincent, 263 Graupner, Johann, 359 Gravier Street (New Orleans), 198 Green, Charlie (Long), 127, 131, 132 Green, Lil, 142 Gretna (La.), 182, 293 Grieg, Edvard, 279 Grossman, Eugene, 337 Gulf of Mexico, 151

Haiti, 29, 34, 64, 152, 161, 275 Haitian revolutions (1792-1806), 275 Half-Way House Orchestra, 213 Hall, Helen, xi

Hall, Minor (Ram), xii, 218, 223, 337 Hampton Institute, 159 Hampton, Lionel, 273, 282 Hampton Student Singers, 65, 159 Handy, William Christopher, 146, 147 Hardin (Armstrong), Lillian, 218, 223,

224, 256, 285, 286 Harding, Phil, 304 Harding, Tom, 304 Harlem (New York), 73, 127, 146, 157,

274-7, 304, 314, 315, 329 Harris, Aaron, 83 Harrison, Jimmy, 268 Harrison, Lou, xi, 106, 107 Hartwell, Jimmy, 228 Harvey, John, 84 Hawk and chickens, 90, 91 Hawkins, Coleman, 267, 268 Hazel, Sam, 57 Head of the Passes, 151 Hearn, Lafcadio, 64, 328 Hemingway, James, 304 Henderson, Fletcher, 13, 131, 132, 277-

80, 283, 336 Henderson's Orchestra, Fletcher, 258,

276, 277, 279, 288 Herskovits, Frances S., 34 Herskovits, Melville J,, xi, 27, 28, 29,

34, 45, 47, 63, 65, 342, 345, 347 Herzog, George, 342, 343

Hilaire, Andrew, 242, 245

Hill, Alex, 319

Hill, Bertha (Chippie), xii, 110, 111,

136, 137, 138, 139, 142, 337 Hill, Clyde, 53 Hindemith, Paul, 281 Hines, Earl (Father), 283, 286, 289,

315, 318, 320 Hobson, Wilder, 76 Hodes, Art, 234, 236, 300, 338, 339 Hodes's Columbia Quintet, Art, 236 Holecamp's Georgia Smart Set, 184 Holiday, Billie, 113, 143-4 Hollywood, 338 Honky Tonk music, 202 Hopes HaU, 181 Hornbostel, E. M. von, 27 Home, Ellis, 324 Hot Club of France, 270 Hot Disco grapJiy (Charles Delaunay),

263, 323 Hot Five, 127, 231, 242, 256, 258, 261,

283-5

Hot Record Society, 323 Hot Seven, 258, 283-7 Houston (Texas), 296 Howard, Avery (Kid), 165 Howard, Darnell, xii, 245, 337 Howard, Joe, 166, 184 Humphrey, Brock, 181

Iberville, Sieur d' (Pierre le Moyne),

151 Iconography of Manhattan Island,

The (Stokes), 276 Hari with VIdaFs group, 346 Imperial Band, 179, 201, 221 Impressionists, The, 281, 290, 320 Indian, American, 64 Indian Band, 180 Indian Territory, 357 Indiana, 299 Irish Channel, 178 Iroquois Cafe, 224 Irvis, Charlie, 274 Item, The, 203 Ives, Charles, 194

Jack the Bear, 315

Jackson, Bessie, 118

Jackson, Doctor George Pullen, 342,

343

Jackson Hall, 181 Jackson, Tony, 202, 294, 318 Jade Room, 338 James, Harry, 220 James, Jesse, 115, 357

INDEX

Jamestown (Va.), 48, 98

Janis, Harriet, xii, 337

Jazz Age, 10

Jazz Band and Negro Music, The

(Darius Milhaud), 329 Jazz Begins (Rudi Blesh), 204 Jazz, Hot and Hybrid (Winthrop Sar-

geant), 336

Jazz Hot, Le (Hugues Panassie*), 322 Jazz, Le (Coeuroy and Schaeffner), 156 j a zz Lowbrow and highbrow (H. T.

Finck), 328 Jazzman Records, 185, 186, 202, 319,

324 Jazzmen (edited by Frederic Ramsey,

Jr. and Charles Edward Smith), 182,

220, 323

Jazz Record (Magazine), 179 Jazzways Annual, 204 Jefferson, Blind Lemon, 114 Jefferson, Thomas, 50, 169 Jew, the, 330 Jockers Brothers, 269 Johnson, Bascom, 202 Johnson, Blind Willie, 78, 79 Johnson, Bunk, xii, 95, 127, 157, 160,

172, 178, 182-7, 190, 214, 215, 222,

225, 252, 257, 282, 283, 286, 289, 331,

332, 337, 338

Johnson's Band, Bunk, 188, 300, 338 Johnson's Original Superior Band,

Bunk, 186

Johnson, Charles S., 342 Johnson, George, 228 Johnson, James P., 146, 274, 314, 315,

316, 317, 320 Johnson, Lonnie, 112, 141 Johnson, Pete, 308, 311 Johnson, Robert, 121, 122 Johnson, Turner, Junior, 78 Johnson, Willie, see: Johnson, Bunk Joies et Les Enigmes d'Une Heure

Etrange, Les, 309 Jones, Rev. A. M., 52 Jones, Maggie, 110 Jones, Richard M., 138 Jones B'and, Richard M., 201 Joplin, Scott, 169, 312, 314, 319 Jordan, Charley, 114, 115 Juba, 360

Kaminsky, Max, 236, 339 "Kansas City Five, 282 Kansas City Frank, see: Melrose,

Frank Kansas City (Mo.), 110, 114, 217, 274,

281, 282, 296, 303, 308, 311

Kentucky, 256

Kentucky Club, 277, 280

Kentucky mountains, 131

Keppard, Freddie, 183, 201, 221, 222,

252, 257 Ketu, 346 Kid Lippy, 315 King Cole, 154 King, Porter, 319 King, Stanley, 265 Kin to Kan't, 108 Kirby, John, 273

Kirby and His Orchestra, John, 273 Kolinski, M., 34, 38, 41, 342, 343, 344 Krehbiel, Henry E., 9, 10 Krenek, Ernst, 333-5 Krupa, Gene, 89, 275

Ladd's Black Aces, 263 Ladies 3 Home Journal, 327 Ladnier, Tommy, 126, 143, 183 Laine, Jack (Papa), 205, 206, 207, 208,

214

Laine's Ragtime Band, Papa, 208 Lake Forest Academy, 228 L'ala, Johnny, 205 Lala's Cafe, Peter, 201, 222, 224 Lambert, Constant, 255 Lambert, William, 219 Lambs' Cafe, 219 L. and N. Railroad, 129 Lang, Eddie, 269 Lannigan, Jim, 232 La Rocca, Dominique J. (Nick), 208,

211, 212, 214, 220

Lead Belly, see: Ledbetter, Huddie Leavitt, Andy, 360 Ledbetter, Huddie (Lead Belly), 52,

54, 56, 60, 114, 346 Leek's Lake Resort, 224 Leibrook, Min, 228 Lenox Ave. (New York), 331 Le Protte, Sid, xii, 223, 224 Lewis, Frank, 181 Lewis, George, xii, 166, 186, 187, 215,

337

Lewis, Harold, 338 Lewis, Meade Lux, 115, 303, 308, 309,

310

Lewis, Ted, 274, 281 Library of Congress, xi, 45, 84, 85, 89,

177, 243, 304, 351, 352, 355, 356 Library of Congress, Folk Archives of

the, 52, 53, 67, 78, 83 "Lightning," 351 Lincoln, Abraham, 140 Lincoln Gardens Caf 6, 224

INDEX

Lincoln Park (New Orleans), 174

Lindsay, John, 138, 245, 255

Lingle, Paul, xii

Liszt, Franz, 249

Little Brother, 292. See also: Mont- gomery, Eurreal

Little, Jim, see: Brown, Sidney

Little Ramblers, 263

Living Age, 329

Locust Street (New Orleans), 198

Lofton, (Cripple) Clarence, 298, 303, 310, 357

Lomax, Alan, 54, 60, 83, 91, 93, 352

Lomax, John A., 54, 60, 83

Lombardo, Guy, 227

London Company of Stationers, Reg- ister of, 82

London, 267, 305, 359, 361

Lopez, Ray, 219

Los Angeles, 224

Louisiana, 52, 54, 64, 75, 184, 282, 303

Louisiana Federation of Women's Clubs, 203

Louisiana Five, 220

Louisiana Territory, 151

Louis' Stompers, 283

Louisville (Ky.)> 256

Love and Charity Hall, 181

Loyocano, Arnold, 219

Lunceford, Jimmy, 13, 282

Lyons, Bob, 184

Lyric Theater, 123

Lytell (Sarrapfcde), Jimmy, 263

MacAgy, Douglas, xi

Macbeth, Lady, 200

Mad Water, 298

Magnolia Sweets, 201

Mahogany Hall (Lulu White's), 199

Mannone, Joseph (Wingy), 235, 271

Marable, Fate, 217, 218

Mardi Gras, 153, 154, 166, 173, 181

Mares, Paul, xii, 206, 214, 215, 227

Market Street (San Francisco), 223,

324

Marlow (Mello), Manuel, 205 Marrero, Laurence, 166, 186 Martin, Sara, 146 Maryland, 300 Mary's Place, 224 Mason-Dixon Line, 58 Masonic Hall, 181 Matisse, Henri, 49 Matthews, Brander, 361 Mayo Tobacco Factory (Richmond,

Va.)> 66 McClennan, Tommy, 112

McCIintock, Harriet, 90, 93-6

McKenzie, Red, 267, 268, 269

McPartland, Dick, 232

McPartland, Jimmy, 232

Melotone Records, 115

Melrose, Frank, 89, 235, 299

Melrose Music Corporation, 250

Memphis (Term.), 110, 147, 217, 296

Memphis Five, 229

Memphis Jug Band, 103

Memphis Minnie, 114

Mezzrow, Milton, 145

Miles, Lizzie, 113

Miley, Bubber, 280

Milhaud, Darius, 8, 10, 329-31

MiUer, Glenn, 268, 272

Mills, Kerry, 169

Milneburg, 182, 293

"Minnie Mouse," see: Gonsoulin, Ber- tha

Mississippi, 52, 57, 78, 84, 90, 96, 97, 130, 253, 303, 355, 356

Mississippi Basin, 153

Mississippi River, 57, 110, 131, 151, 153, 182, 217, 292

Missouri River, 217

Mr. Jelly Lord (Morton), 246, 247, 248

Mitchell, George (Little Mitch), 242, 245, 256, 257

Mitchell's Christian Singers, 76, 78

Modern Music Quarterly, 331

Mole, Milfred (Miff), 263

Montgomery, Eurreal, 296, 297

Moore, Vic, 228

Moorhead Plantation, 70, 356

Moors, 178

Morden, Marili, xi

Morgan, Andrew, 189

Morgan, Isaiah, 189

Morgan, Sam, 189

Morgan's Jazz Band, Sam, 189, 190, 212

Morley, Dr. Grace L. McCann, xi

Morris Hot Babies, 274

Morris, Thomas, 274

Morton, Ferdinand (Jelly Roll), xi, 83, 134-6, 147, 169, 171, 177, 180, 191- 5, 199, 202, 224, 231, 242-53, 255, 256, 260, 261, 265, 269, 279, 293, 294, 299, 300, 304, 312, 318, 314, 318, 319, 321, 324,334

Morton and His New Orleans Jazz- men, Jelly Roll, 171

Morton and His Red Hot Peppers, Jelly Roll, 106, 231, 244-52

Mosely, Rev. W. M., 67

Vll

INDEX

Moses, 51, 63, 258, 330

Moten, Bennie, 281

Moten's Kansas City Orchestra, Ben- nie, 281, 282

Mound City Blue Blowers, 267, 269

Moussorgsky, Modeste, 105

Moynahan, Jim, 263

Moyne, Pierre Le, see : Iberville, Sieur, d'

Mueller, Gus, 219, 220

Mungo, 359

Murphy, Melvin (Turk), xii, 324

Musical Scene, The (Virgil Thom- son), 331

Music Here and Now (Ernst Krenek), 333

Music of the African Races (Nicholas Ballanta),41

Musicraft Records, 60

Musik Westafrikas,Die (M. Kolinski), 34, 344,

Mysterious Babies, The, 196

Myth of the Negro Past, The (M. J. Herskovits), 28, 63, 65

Napoleon, Phil, 263, 265

Napoleon, Ted, 265

Nation, The, see: Cherokee Nation

Navy Department, 202, 203

Navy, U. S., 203

Neapolitan song, 214

Ned, Louis, 156

Negro Folk Songs as Sung by Lead Betty (John A. Lomax and Alan Lo- max), 54, 60, 83

Negro Minstrelsy (Brander Mat- thews), 361

Negro question, 28

Nelson, Louis de Lisle (Big Eye), xii, 167, 184, 201, 221

Nelson, Romeo, 120, 121, 311

New Basin Canal (New Orleans), 154

New Friends of Rhythm, 272

New Iberia (La.), 185

New Netherland, 276

New Orleans, 3, 5, 7, 9, 10, 15, 32, 34- 6, 38, 43, 58-60, 64, 78, 94, 95, 96, 100, 102, 103, 110, 111, 116, 125, 126, 127, 129, 134, 137, 145, 147, 151-216, 217- 23, 224r-6, 230, 233, 234, 236, 237, 239, 241, 245, 247, 249, 252, 257, 264, 268, 269, 273, 275, 276, 278, 284, 285, 290, 294, 296, 297, 303, 304, 323, 336, 346, 356

New Orleans Bootblacks, 231, 254, 255- 7

New Orleans Memories, 162, 319

New Orleans Rhythm Kings, 206, 208, 209, 214, 215, 223, 227, 230-2, 243, 265, 273

New Orleans University, 159

New Orleans Wanderers, 188, 231, 242, 254, 255-7, 337

New York City, xi, 7, 10, 58, 124, 169, 184, 215, 218, 220, 221, 236, 244, 249, 262-91, 300, 308, 310, 313, 327, 338

New York Recording Laboratories, see : Paramount Records

New York Sun } 328

Nicholas, Albert, 300, 337

Nicholas, "Wooden" Joe, 183

Nichols, Loring (Red), 229, 265

Nick's Cafe, 236

Niger River, 292

Noone, Jimmy, 201, 223, 272, 273

Noone-Petit Orchestra, 201

North Basin Street (New Orleans), 198, 199, 202, 246

North Carolina, 76

North Rampart Street (New Or- leans), 154

Northwestern University, xi, 34, 45, 345

Norvo, Red, 271

Notes on Virginia (Thomas Jeffer- son), 50

NouveUe Orleans, 151

Nunez, Alcide (Yellow), 205, 208, 220

Oaks, The, 153

Office of War Information, 185

Ogun, 75

Ohio, 304

Ohio River, 217

Okeh Records, 137, 141, 218, 224, 231,

232, 235, 256, 305, 316, 317 Oklahoma City (Okla.), 303 Oklahoma Territory, 357 Old Florida Sam, 293 Old Quarter, 154, 155, 160, 182 Old Witch, 90 Oliver, Mrs. Frances, xi Oliver, Joseph (King), 14, 127, 182,

183, 184, 201, 214, 221-7, 228, 232,

242, 250, 252, 253, 257, 258, 277-9,

282, 283, 286, 319, 324 Oliver's Creole Jazz Band, King, 209,

223-7, 230-2, 239, 241, 242, 258, 277,

278, 282, 324

Olivier, Adam and Band, 184 Olympia Band, 171, 201 Omaha (Nebr.), 217 Omolu, 345

mil

INDEX

On the Trail of Negro Folk-Song (Dorothy Scarborough), 35, 59, S2 9 84

101 Ranch (Cabaret), 220

102 Ranch (Cabaret), 220 Onward Brass Band, 221, 222 Original Creole Band, 201, 218, 221,

222, 262

Original Dixieland Five, 213 Original Dixieland Jazz Band, 206,

208-14, 215, 220, 221, 228, 236, 262,

274, 276

Original Hot Five, 263 Original Memphis Five, 263, 264, 265,

266

Original Superior Band, 186 Original Zenith Brass Band, 166, 167 Orleans Street (New Orleans), 154 Ory, Edward (Kid), xii, 179, 180, 185,

242, 245, 247, 252, 255, 256, 257, 261,

284-86, 289, 337, 338 Ory's Brownskin Band, Kid, 201, 222,

224

Ory's Creole Jazz Band, 179 Our New Music (Aaron Copland), 335

Pace, Kelly, 52 Palmer, Roy, 201, 218, 231 Panassie, Hugues, 270, 322, 323 Paramount Records, 83, 84, 124 3 134,

145, 224, 232, 243, 258, 297, 298, 305,

308, 309, 315

Parentf s Famous Melody Boys, 213 Paris; 8, 49, 270, 327, 331 Parked Travels, 50 Parlophone Records (English), 235,

308, 309

Parrish, Lydia, 50, 168 Parthenon, 99

Pedau (or Pedaux), Mme, 179 Pekin Cafe, 223 Pennsylvania, 283

Perdido Street (New Orleans), 198 Perez, Emanue 179, 180, 201, 221,

222

Pergola Dancing Pavilion, 223 Perkins, Dave, 206 Perryman, Rufus, 292, 299 Perseverance Benevolent Society, 155 Petit, Buddy, 180, 201 Petit, Joseph, xii, 180 Pettis, Jack, 214 Phcedrus, The, 99 Pharaoh, 51

Phillips, Sister Berenice, 78, 338 Piazza, "Countess" Willie V., 204 Picasso, Pablo, 49

Picou, Alphonse, xii, 170, 180, 201

Pictures of New Orleans, 245

Pierce and His Orchestra, Charles, 232

Piety Street (New Orleans), 153

Pinewood Tom, 142

Piron, Armand, 170, 179, 269

Piron's Orchestra, Armand, 165, 179

Pittsburgh (Pa.) 3 217

Poe, Edgar Allan, 159, 360

Ponchartrain, Lake, 174, 182, 286, 293

President (#.#.), 217

Pridgett, Jr., Thomas, 123

Primrose Orchestra, 201

Prohibition, National, 114, 204, 272,

273, 304

Prosody, Greek and Latin, 94 Providence HaU, 181 PurcelTs Cafe, 223

Querschnitt, Der, 329

Quintette of the Hot Club of France,

270 Quod libet, 239

Rabbit Foot Miwtrek, 123 Rachmaninoff, Sergei, 329 Raff, The, 323 Ragas, Henry, 211, 212, 213, 220

(Ma), 83, 84, 110-

^, 123-30, 133, 134, 135, 136, 137,

138, 139, 142, 143, 145, 148 Rainey, Will (Pa), 123 Rameau, Jean Phillippe, 8 Rampart Street (New Orleans), 246 Ramsey, Frederic, Jr., xi, 179, 182, 185,

323, 332

Random Harvest, 313 Rappolo, Leon, 214, 215, 227, 229, 231 Ravel, Maurice, 329 Ray, Louis, 181 RCA (Radio Corporation of Amer-

ica), 244

RCA-Victor, 244 Real Jazz, The (Hugues PanassI6),

323

Reconstruction period, 245 Redd, Alton, 179, 337 Reddick, Dr. L. D., xi Red Hot Peppers, see: Morton and

His Red Hot Peppers Redman, Don, 283, 286 Regular Baptists (Trinidad), 347 Reinhardt, Django, 270 Reinherz, Sid, 315 Reliance Brass Band, 205, 208, 212 Reuter, E. B., 342 Rex, King of Carnival and Misrule,

154

INDEX

Rhythmakers, The, 275

Rice's Hall, 221

Richmond (Va.), 66

Ripley, Robert, 147

Robechaux, John (and Band), 179,

180

RobertE.Lee ($.#.), 153 Roberts, C. Luckeyeth (Lucky), 157,

314

Robertson Street (New Orleans), 198 Robertson, Zue, 201 Robeson, Paul, 15, 76 Robinson, Bill (Bojangles), 189 Robinson, Fred, 286 Robinson, Jim, xii, 165, 186, 187, 189,

337

Robinson, J. Russel, 213 Rocco, Maurice, 308 Rogers, Ernest, 186 Rollini, Adrian, 263, 271 Rollini and His Orchestra, Adrian, 271 Romantic music, 200, 229, 290, 320;

French, 281 Rome, 68 Roth, Jack, 263 Rough Riders, 196 Royal Family of England, 305 Royal Gardens, 222, 224 Royal Street (New Orleans), 154, 246 Ruskin, John, 336 Russell and His Orchestra, Luis, 277,

282

Russell, "Peewee," 235, 267, 268, 275 Russell, William, 185, 323

St. Charles Street (New Orleans), 246 St. Cyr, Johnny, xii, 178, 217, 218, 242,

245, 252, 256, 261, 285, 286 St. Louis, 110, 217, 231, 267, 274, 281,

296, 297, 303, 310, 013 St. Louis Exposition, 313 St. Louis Street (New Orleans), 198 St.P<wl(S.S.) 9 2lV St. Paul (Minn.), 217 Samba, 178 San Francisco, 69, 184, 215, 223, 224,

324 San Francisco Museum of Art, xi, 40,

185, 278

San Juan Hill, 196 Sankey-Moody, 347 Saratoga (N. Y.), 205, 361 Saratoga Club, 277 Sargeant, Winthrop, 336 Sarrapede, see : Lytell, Jimmy Satie, Erik, 8 Saturday Night Function, 141

Saturday Review (London), 361 Savannah (Ga.), 283 Savannah Syncopators, 231, 282 Sbarbaro (Spargo), Tony, 211, 220 Scarborough, Dorothy, 35, 59, 82, 84 Schaeffner, Andr6, 156 Schiller's Caf6, 220 Schoebel, Elmer, 214 Schomburg Collection of Negro Liter- ature and History, xi Schonberg, Arnold, 32, 200 Schumann, Robert, 307 Schutt, Arthur, 265 Scotch hymns, 25 Scott, Arthur (Bud), xii, 179, 337 Scott, James, 312, 313 S-D Records, 319 Session Records, 305, 314 Shakespearian tragedy, 200 Shango, 75, 346 Shaw, Artie, 266, 272 Shayne, J. H. (Mr. Freddy), 337 Sherman Hotel, 236 Shields, Larry, 209, 211, 212, 213, 214,

220

Shipp, Katherine and Christine, 90 Shreveport (La.), 54 Shrove Tuesday, 153 Sicilian song, 214 Sidney (S.S.) 9 m, 217 Signature Records, 83, 297, 315 Signorelli, Frank, 263, 265 Silent Grove Baptist Church at Clarks-

dale, Miss., 78, 356 Simeon, Omer, xii, 179, 242, 245, 252,

289, 337

Singing Christian, 142 Singleton, Zutie, 286 6th and 7th Book of Moses, 298 Skinny Head Pete, 293 Slave Songs of the Georgia Sea Islands

(Lydia Parrish), 50, 168 Smith, Bessie, 111, 112, 123, 124, 129-

34, 135, 136, 138, 139, 142, 143, 306,

336

Smith, Captain John, 48 Smith, Charles Edward, 182, 220, 323 Smith, Clarence (Pinetop), 115, 308,

304, 307, 308 Smith, Stuff, 271 Snyder, Frank, 214 Sobel, Judge Nathan R., xi Society for the Preservation of the

Spirituals, 353

Solo Art Records, 300, 305, 308 Sous a, John Philip, 328 South America, 276

INDEX

South Carolina, 58

South, Eddie, 270, 271

Spand, Charlie, 311

Spanier, Francis (Muggsy), 230-1,

236 Spanier and His Ragtime Band,

Muggsy, 236, 237, 299 Spanish America, 3 Spanish- American War, 181 Spanish Fort, 293

Speckled Red, see: Ferryman, Rufus Speckled Red Trio, 299 Spiritual Baptist Church of Toco,

Trinidad, 347, 348 Stacy, Jess, 320 Stafford, George, 145 Stein, Gertrude, 144 Stein, Johnny, 220 Stevens, Mike, 205 Stewart, Rex, 279 Stokes, I. N. Phelps, 276 Stokowski, Leopold, 329 Stomp (dance), 188 Stomp Six, 230, 231 Story, Alderman Sidney, 198 Storyville, 198, 199, 202-4, 219, 220,

221, 222, 223, 246, 296 Stradivarius, 296 Strauss, Johann, 334 Stravinsky, Igor, 8, 281 Strong, Jimmy, 286 Stuart, David, 185 Stults, Robert M., 328 Sturdivant, Bozie, 78 Stuyvesant Casino, 300, 338 "Sugar Johnny," 218, 221 Sullivan, Joe, 145, 320 Sultana (8. 8.), 153 Superior Band, 186, 201 Sweatman's Original Jazz Band, 273 Sykes, Roosevelt, 112, 141

Tack Annie, 167

Tate, Erskine, 14, 258

Tate's Vendome Orchestra, Erskine,

282, 283

Tatum, Art, 268, 289, 320, 321 Taylor, Montana, xii, 119, 120, 304, 307,

311, 337

Tchaikovsky, Kotr Ilyich, 279 Teagarden, Jackson, 145, 268, 271, 272,

275, 287

Tennessee, 115, 123, 253, 256, 303 Tennessee Tooters, 265 Terpsichore, 154 Teschmaker, Frank, 232-5, 236, 267,

Texas, 52, 53, 54, 55, 84, 184, 243, 303,

351

Texas Centennial Exhibition, 213 Theatre Owners* Booking Association

(T.O.B.A.), 123 Thessalonia, plains of, 97 They Seek a City (Bontemps and Con-

roy), 134

This is Jazz (Rudi Blesh), 40, 278 Thomas, Hersal, 137, 303, 311 Thomas, Hociel, 111, 136, 137 Thomson, Virgil, xii, 144, 331, 332 Times-Picayune (New Orleans), 10 Tin Pan Alley, 127, 169, 205, 258, 269,

290, 336

Tintype Hall, 181 Tio, Lorenzo, Jr., 201 Tio, Lorenzo, Sr., 176, 180, 252 "Tippling Tom," 304 T.O.B.A., see: Theatre Owners' Book- ing Association Toco, Trinidad, 347, 348 Tombs, The, 276 "Toothpick, The," 304 To War on Jazz with Better Songs >

327

Towe, J. B., 65 Town HaU, 300 Travels in the Congo (Andr6 Gide),

296

Trigger Sam, 293 Trinidad, 347, 348

Tulane University Gymnasium, 222 Turner, Joe, 311

Turpin, Thomas Million, 312, 313, 310 Twain, Mark, see: Samuel Clemens "25" Club, 201, 222 Tyers, W. H., 186

Uncle Remus stories, 63, 133, 218 Uncle Tom, 218

United Hot Clubs of America, 323 Unspeakable Jazz Must Qo > 327 U. S. Government, 202

Varley, Douglas H., 52

Venuti, Joe, 269, 270, 271

Victoria, Queen, 336

Victor Records, 103, 106, 144, 145, 214,

221, 244, 245, 254, 272, 274, 305, 308,

309, 317, 319, 321 Vieux Carr6, 151 Vffla-Lobos, Hector, 332, 333 Virginia, 85

Virginia Minstrels, The, 359 Vocalion Records, 119, 235, 254, 305,

311, 319

Volstead, Andrew, 204 Voodoo, 161, 298, 346 Voynow, Dick, 228

Wagner, Richard, 229; post-Wag-

nerian music, 8 Walker, Frank, 130 Wallace, Sippie, 111, 136, 139-41 Wallace, Wesley, 310 Waller and His Rhythm, Fats, 2T5 Waller, Thomas (Fats), 274, 275, 317,

318, 320

Wall Street (New York), 10 War Department, 202 Washingtonians, The, 280 Waterman, Richard A., xi, 342 Watters, Lu, 324 Watters' Yerba Buena Jazz Band, Lu,

324

Weinstock, Herbert, xii West End, 293 West India Company, 276 West Indies, 275 West Virginia, 84, 283 Whaley, Wade, 185 What's the Matter with Jazz? 327 Where is Jazz Leading America? 327 White, Josh, 142, 143 White, Lulu, 199

INDEX

Whiteman, Paul, 13, 195, 227, 230, 269,

277, 287, 327

Wilder's Octet, Alec, 272 Williams' Blue Five, Clarence, 139,

258, 283

Williams, Claiborne and Band, 179 Williams, Jabbo, 311 Williams, Mary Lou, 320 Wilson, Albert (Buster), xii, 179, 337 Wilson, Alfred, 294 Wilson, Teddy, 143, 268, 273, 320 Winged Victory, 99 Wisconsin, 124 Wise, Dr. Stephen T., 328 Witte, Misionar, 52 Witwer, Johnny, 300 Wolverine Orchestra, 227-30, 232, 265 World War I, 7, 270

Yancey, Alonzo, 303, 314

Yancey, Jimmy, xii, 115-18, 303, 305-

7, 314, 358

Yancey, Mama, 116-18 Yoruba, 34, 345, 346 Young, Austin, 186

Zack, George, 236, 299

Zulu, King of the Africans, 154

Xll

INDEX OF MUSIC

Aaron Harris, 83

Ain't Gonna Study War No More

(Down by the River), 167 Ain't Misbehaving 317 Ain't No Grave Can Hold My Body

Down, 78 Albert's Blues, 300 Alice Fields, 170 All Hid? 90 Alligator Crawl, 317 Any Rags? 157 Arwhoolie (cottonfield song), 54

Baby Doll, 130

Baby, I Can't Use You No More, 139

Back Water Blues, 131

Bahutu Songs and Dances, 71

Barbara Allen, 82

Barnyard Blues, 209

Barrel House Stomp, 235

Barrel House Woman, 297

Basin Street Blues, 287

Bass Goin y Crazy, 311

Bear Cat Crawl, 310

Big Boy They Can't Do That, 308

Big Butter and Egg Man, 236

Birmingham Blues, 317

Black and Blue Bottom, 269

Black and White Rag, 169

Black Bottom Stomp, 244-6, 251

Black Brown and Beige, 281

Blind Lemon Blues, 114

Blues for Jimmy, 337

Blues the World Forgot, 134

Blue Washboard Stomp, 255

Bogalousa Strut, 189, 190

Boogie Woogie, 311

Bo-Weavil Blues, 84, 127

Bright Sparkles in de Churchyard,

66

Brown Skin Gals, 298 Bucket's Got a Hole In It, see : There's

a Hole in the Bucket Bucktown Stomp, 255 Buddy Bolden's Blues, 135, 300 Buffalo Blues, 319 Buffalo Rag, 313 Bugle Call Rag, 273 Bull Fiddle Blues, 255 Bull Frog Blues, 232 Buss Robinson Blues, 311

Cabin In The Sky, 82, 205

Cake Walking Babies, 130

Canal Street Blues, 222, 226

Cannon Ball Blues, 244

Careless Love, 130, 131, 132, 138, 306

Carolina Shout, 316

Casey Jones, 82

Cat Man Blues, 114

Celeste Blues, 310

I'Autre Can-Can, 179

jy, 244, 246, 247, 279, 318 China, Boy, 232

Circumcision Ritual of the Babira, 72 Clarinet Marmalade, 209 Climax Rag, 313 CZo$A* n JSaZfc^ 317 Copenhagen, 278 Com Bread Rough, GO Cornet Chop Suey, 284 Cotton Blossoms, 168 Cotton-Eyed Joe, 82 tfo^on Pickers' Ball, 277 Counting the Blues, 127, 128 Cow? 00t> Blues, 310 Omw, T&0, 319 Creepy Feeling, 319 Oeofo $0?2^ *00.- C*0s VAutre Can- Can

Daybreak Express, 280 Dead Man Blues, 244

Letter Blues, 116, 358 Creek Blues, 106

z^, 310 Deep Water Blues, 142 Detroit Rocks, 311 Diamond Joe, 54 Diminuendo and Crescendo in Blue,

281 Dippermouth Blues, 222, 278, 279

Dozens, The, 299 e, 359 Diatt'0 /ass Band One-Step, 209, 211,

212

Doctor Jazz Stomp, 135, 244, 249-51 Don't Go 'Way Nobody, 157, 170 Don't Mind the Weather, 54 Do the Georgia, 299 Down by the River, see: Ain't Gonna

Study War No More Down Home Rag, 337

Xlll

INDEX OF MUSIC

Down In Boogie Alley, 118 Drop That Sack, 167 Drum Improvisation No. 1, 41 Dyin' Rider Blues, 120, 121

"East St. Louis Toodle-o, 280

Eccentric f 236

Empty Bed Blues, 130

En Dat Great Gittin'-up Morning 65

Everybody Loves My Baby, 230

Fat Frances, 319

Fat Meat and Greens, 319

Fifth Symphony (Beethoven), 101

Fine and Mellow, 143, 144

Finger Buster, 319

Five O'Olock Blues, see: Fives, The

Fives, The, 304, 305

Flee as a Bird to the Mountain, 171

'Fo' Day Blues, 307

Foot Pedal Boogie, 311

Four O'Clocks, The, 304

Four Saints in Three Acts, 144

Frankie and Albert, 82

Frankie and Johnny, 82

Franky Baker, 82

Freakish, 319

Froffimore Rag, 319

Frog Legs Rag, 313

Frog Went A-Courting, 82

Gambler's Dream, 136, 137

Gambling Man, The, 67

Gatemouth, 257

Gay Negro Boy, The, 359

Georgia Camp Meeting, 169

Get It Right, 170

Get Low-Down Blues, 281

Get Out of Here, 337

Gettysburg March, 154

Goin' Away Blues, 311

Gon f Knock John Booker to the Low

Ground, 90, 95, 96 Got No Blues, 284 Grace and Beauty, 313 Grandpa's Spells, 244 Green Corn, 60

1. r^ #00*0, The, 82, 86, 87, 147, 346

Guest of Honor, A, 312 Gully Low Blues, 284 Gut Bucket Blues, 285

A Dream, 310 Hamfoot.Man, 167 Hangman's Tree, 82 Hare? Drtofo' Papa, 130 Harlem Fuss, 274

Hastings Street, 311

-Head JRa# .Hop, 311

Heaving the Lead Line, 51

Heebie Jeebies, 285

Hell Hound on My Trail, 121, 122

Hello Lola, 267

Henry Brown Blues, 297, 298

High Society, 154, 222

1. 000 Rag, 315

Home Cooking, 235

.Honfcy ^0^ Htmc,, 202, 319

Honky Tonk Train Blues, 308, 309

House Rent Rag, 254

How Long Blues, 118, 126, 138

How-Long -How-Long, 311

Hurry Angel Hurry, 60

I .dfw a Soldier in the Army of My Lord, 36, 356

I Can't Get Started, 272

I Can't Say, 257

I Ca^'tf Sleep, 119, 120

I Couldn't Hear Nobody Pray, 78

I/ I Ever Cease To Love, 154, 166, 170

I Hope My Mother Will be There, 66

I'm Goin 3 Huntin', 254

I'm Going to Leland, 352

I'm Gonna Lift up a Standard for my King, 70-2

I'm Just Wild About Animal Crackers, 280

I'm Runnin* for My Life, 355

I'm Sober Now, 308

In a Mist, 229

In dem Long Hot Summer Days, 54

In de Mornin', 310

Indiana Avenue Stomp, 311

In New Jerusalem, 78

Isn't It Hard to Love? 166, 170

I Thought I Heard Buddy Bolden Say, 135

I Used To Be Above Love, 272

I've Got A Feeling I'm Falling, 817

I've Got a Hidin' Place, 355, 356

I Wish I Could Shimmy Like My Sis- ter Kate, 170

Jab Blues, 311

Jazzbo Brown, 130

Jazz Me Blues, 228

Jelly Bean Blues, 127

Jelly Roll Stomp, 299

Jesus Goin' to Make Up My Dying

Bed, 76-9

Jesus Lover of My Soul, 347, 348 Joe the Grinder, 54 Joe Turner Blues, 170

XIV

INDEX OF MUSIC

Jogo Blues, 146

John Henry, 84, 85, 140

Juba, 59, 60, 102

Jumpin' Judy, 52, 53, 352

Jump Jim Crow, 167

Jump Steady Blues, 308

Junk Man, 272

Junk Man Raff, 157, 314

Just Hot, 264

Just Rockin', 142

Kaycee on My Mind, 311

Keep Off the Grass, 315

Keep On Knockin' : But You Can't

Come In, 170 Ketu for Shango, 346, 347 Ring Porter Stomp, 319

Last Minute Blues, 148

Lazy River, 299

Levee Camp Mdan, 127

Liebestod (Tristan und Isolde) ,200

Liebestraum, 249

jfffl Farina,, 280

ito, 254

? Brown Jug, 166 Little Girl, Little Girl, 90, 91, 352 Little Rock Getaway, 320 Livery Stable BUes, 209 Lonesome Day Blues, 357 Long Hot Summer Days, 53 Long John, 53, 351, 352 Look Down that Long, Lonesome

Road, 352

Lookin' Good But Feelin' Bad, 275 Low Down Bugle, 307 Lucy Long Walk Around, The, 359

Mabel's Dream, 225, 226

Mah Jong, 315

Maid Freed From the Gallows, The,

82

Make Me a Pallet on the Floor, 39, 170 Mamamita, 319 Mamie, 115

Mamie's Blues, 135, 136 Manbetu Songs, 53, 355 Mandy Lee Blues, 226, 227 Manhattan Stomp, 300 HapZe 0a/ JBa^ 169, 312 Mealtime Call, 54 Mecca, Flat Blues, 311 3>0 Me In Jerusalem, 78 Memphis Shake, 254 Michigan Water BUes, 135 Midnight Bfaes, 278 Midnight Stomp, 305

Mighty LaW a Rose, 280

MZ& Cott> Btos, 142

Milneburg Joys (Milenburg Joys), 265

.Mwor Dra^r, TTie, 274

Mr. Boll Weevil, 82-4

Jfr. Freddy's Rag, 315

Jfr. /e% Lord, 244

Mister Joe, 319

^ 315

Blues, 146, 230 Moonlight Cocktail, 314 Moonshine Blues, 127 Morning After Blues, 267 Muscle Shoal Blues, 317 Muskrat Ramble, 284. Jft*^ <mtf /^ 209 Jf# Maryland, 337

iVafcetf Dance, The, 319 ^ 320 fc, 337 Nobody Knows the Trouble I've Seen,

139 Nobody Knows You When You're

Down and Out, 130 Nobody's Fault But Mine, 111 Nobody's Sweetheart, 232, 233 Norah (Noah), 84, 85 Now I Ain't Got Nothin' at All, 308 No. 29, 310 Numb Fumbling, 317

Oh, Didn't He Ramble, 171, 337

Oh, Sister, Ain't That Hot? 237

Old Uncle Rabbit, 90, 92, 95

Ole Mars'r Had a Yaller Gal, 82

Ole Zip Coon, 167

Ol' Riley, 54

One Hour, 268

Original Dixieland One-Step, 211, 213,

214

Original Jelly Roll Blues, 244 Original Rags, 312, 319 Otello, 144

Padlock, The, 359

Pallet on the Floor, ll$-8

Panama, 154, 186, 214, 215

Panther Rag, 315

Papa Dip, 257

Parlor Social de Luxe, 140, 141

Pass the Jug, 299

Pearls, The, 319

Pp, 319

Perdido Street Blues, 256

Pine Top's Slues, 308

Top's Boogie Woogie, 303, 308

INDEX OF MUSIC

Poor Little Johnny, 90, 93, 94

Poor Man's Blues, -130

Porgy and Bess, 204, 353

Potato Head Blues, 286

Precious Lord Hold My Hand, 111

Pretty Baby, 294

Pullin' the Skiff, 90-3

Put It Right Here, 130, 132, 133

Quittin' Time Bongs, 54

Rag Alley Drag, 307

Raidin 3 Squad Blues, 114, 115

Railroad Train Blues, 314

Rampart Street Blues, 265

Red Hot Dan, 274

Reminiscing in Tempo, 281

Rhapsody in Blue, 195

Rigoletto, 176

Ripples of the Nile, 314

Riverboat Shuffle, 271

Rocks Cried Out, "There's No Hidin'

Place/' 139 Roll 'Em Pete f 311 Rosie, 352

JRos* Tavern Boogie, 300 Run, Nigger, Run, 55

i,, OZrf Jeremiah, 72-6, 188

Sacre du Printemps, S

St. Louis Blues, 103, 146

St. Louis Gal, 265

St. Louis Rag, 313

1. . Louis Stomp, 299

Salutation March, 166

Savoy Blues, 285

1. <?a iow, Woman, 90, 92, 93

0a*Z<? Hunch, 319

Section Hand Blues , 140

50 #00 jftider, 127, 128, 129, 143

Shave *Em Dry, 126, 127

Short Dress Gal, 170

Shortenin' Bread, 90, 93

/Sftowtf /or Joy, 311

Shreveport Farewell, 296, 297

5% <m< %, 314

Sidewalk Blues, 244, 245, 248, 249, 251

Six Wheel Chaser, 310

Sheet and Oarrett, 141

Skew Ball, The Noble, 82, 85

Slow Driving Moan, 127

Smashing Thirds, 317

Smoke House Blues, 244, 247

Snake's Hips, 263

Snowball, 299

Solitude, 321

Someday Sweetheart, 236 ft, 337

JEM Boogie, 310 flicfe Shuffle, 300 Southern Blues, 145 Southern Casey Jones, 358 Spider Man's Blues, 130 $ac& O' .Lee JSZe$, 83, 127 Stagolee, 82, 83

ojf Tennessee Blues, 103 Away, 78 Steamboat Stomp, 244, 247, 248 Stewball, 85

Stomping 'Em Down, 319 Stormy Weather, 292 Strange Fruit, 144 Strawberries, 353 Streamline Train, 310 Street Cries of Charleston, The, 353,

354

$rw TA Thing, 293 Sugar, 235 Sugarfoot Stomp (Dippermouth

Blues), 278, 279 Suitcase Blues, 311 Sweetest Story Ever Told, The, 328,

329 Sweetheart O' Mine, see: Frogimore

Rag

Swing Low, Sweet Chariot, 65 Symphony No. 5 (Beethoven), 101

Hammer, 56 T B JBfcet, 114 TftaZ Da Da Strain, 236 Tftato a Serious Thing, 144, 145 There'll Be a Hot Time in the Old

Town Tonight, 196, 197 There's a Hole in the Bucket, 170 85th Street Blues, 319 Tiger Rag, 38, 177, 191-5, 209 Tillie's Downtown Now, 235 Too Tight, 256 To-Wa-Bac-A-Wa, 170 Travellin' Blues, 115, 309, 310 Treemonisha, 312 Tristan und Isolde, 32, 200 Trouble Everywhere I JSoaw, 139, 140 Trouble In Mind, 138, 139 Twelfth Street Rag, 344

Variations On a Theme, 310 Verklarte Nacht, 32, 200

Blues, 146 , 140

INDEX OF MUSIC

Weary City Stomp, 255 Won't You Please Come Home, Bill

Weather-Man, 271, 272 Bailey? 170

Welfare Blues, 299 Wringing and Twisting, 229

West End Blues, 286, 287

When I Lay My Burden Down, 78 Tancey's Bugle Call, 306, 307

When the Saints Go Marching In, 167, Yancey Stomp, 305

171 Yellow Dog Blues, 146, 275

When You Feel Low down, 141 Yes, Fm in the Barrel, 285

Whistling Blues, 310 You Got to Fix It, 299

Whistling Rufus, 169 You're Not the Only Oyster in the Winin' Boy, 135, 136, 319 Stew, 318

Wolverine Blue, 244, 300 You've Been a Good Ole Wagon, 130

XVII