Shining Trumpets, a History of Jazz
From The Art and Popular Culture Encyclopedia
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"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Trumpets, a History of Jazz (1946) by Rudi Blesh, p. 342 "A valuable study of West African music is the unpublished manuscript, Die Musik Westafrikas, by M. Kolinski, in the anthropological library at Northwestern University.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 |
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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
- 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
