James Reese Europe Music

These recordings date from 1975 (the ragtimes) and 1976. Vox was the Naxos of the LP era. They made rare repertoire available at cheap prices, in interpretations that usually were no more than serviceable. One definitive advantage of the CD reissues is that the Vox LPs were often marred by poor, noisy pressings, hampering a full appreciation of the recordings.

In this survey of piano music in America between 1900 and 1945, some of the expected warhorses are there - Gershwin's Three Preludes and Copland's Piano Variations - but mostly we get rarely if ever recorded pieces, roughly arranged in chronological order. The very principle of this collection does entail some frustration, both for its unavoidable omissions (where are Ornstein, Nancarrow, Ruth Crawford?) and because it gives us only snippets from all these composers (some of them so rarely heard that it only serves to whet and frustrate one's appetite), and sometimes only excerpts, either from complete Sonatas (Ives, Barber) or from cycles (MacDowell's Woodland Sketches, Thomson's and Riegger's etudes, Griffes' Four Roman Sketches). But then it is invaluable for all the rarities it offers, so let us happily welcome what we get.

MacDowell's five excerpts from Woodland Sketches are rather uninteresting short tone poems in the style of Grieg, but Loeffler's language is more adventurous, conjuring the mysteriously sensuous harmonies of Scriabin and Debussy, with flights into Rachmaninoff.

Virgil Thomson, Roy Harris, Walter Piston, Roger Sessions, William Schuman are all much better known for their big symphonic scores or, in the case of Thomson, his operas and film scores (as well as his music criticism), making the inclusion of some of their piano music all the more welcome. Thomson's Third Piano Sonata from 1930 was written for Gertrude Stein whose interest for modern music was greater than her piano playing abilities, and offers the peculiarity of being written only for the white notes. It is mostly in the form of a simple, two-part invention and, despite the liner notes' claim, often sounds like "music for children" - say, the first steps of "Mikrokosmos". Maybe Thomson's "early and notoriously dissonant Sonata da Chiesa" (according to the notes) would have been a more interesting choice. The two etudes are excerpted from Thomson's 1943 Ten Etudes, each of which deals with some particular technical difficulties. The two chosen by Shields sound like (slightly out-of-tune) tango and ragtime all-right, and their small musical substance makes me think they must offer more fodder for playing than just for listening.

Like Thomson, Copland, Piston and Harris were pupils of Nadia Boulanger in Paris, but Barber, Schuman and Sessions were not. Still, their compositions share some common traits: they are usually stern, neo-classic in general outlook in that they are based on melodic and harmonic processes (often derived from Bach and the classical forms: 2-voice invention, chorale-like chord progressions, Passacaglia, Fugue) rather than the search of novel sound effects based on percussive attacks or clusters (as Cowell, Antheil and often Ives), and each movement often develops a certain specific compositional idea (sometimes overreaching their basic material to the point of satiation, as in the slow movement of Harris' Sonata or the introductory one from Sessions "From my Diary"). They never relinquish their ties to tonality, but their firm establishment is the modern times derives from their use of dissonance and bi- or polytonality. Even when they are not called as such, both Schuman's "Three Score Set" and Session's "From My Diary" mimic a Sonata construction (with slow introduction in the case of Sessions). Of all, it is Copland that establishes the most personal and immediately recognizable voice (to the point that the middle, choral part of Schuman's piece and some like passages of Harris strongly evoke the Brooklyn-born composer).

Other than Copland's Variations, my favorite pieces are those from the early modernists, Antheil, Cowell and Ives. Among the set's rarities, Wallingford Riegger's choice of 6 out of his 12 studies "New and Old" (1944) also offers an exceptional discovery. Riegger began his artistic course as a traditional Romantic composer but gradually evolved a much more personal language based upon dissonant chromatic counterpoint and eventually twelve-tone procedures, sounding very different from what Schoenberg and his school derived from the process (see Riegger: Symphony No3, Romanza, Dance Rhythms, Music for Orchestra, Concerto for Piano and Woodwind Quintet, Music for Brass Choir, Movement for Two Trumpets Trombone and Piano, Nonet for Brass and Wallingford Riegger: Variations / Sym No.4 for a good presentation of his orchestral work). As implied by their titles (further developed in the composer's explanations that introduce them in the score), the etudes illustrate certain compositional processes, but they are much more than mere didactic and cold exercises, offering instead dazzling virtuosity and mesmerizing sonic imagination, making it all the more frustrating that Shields didn't record the complete set.

The survey is completed by a fine program of 13 ragtimes - indeed one of the most vernacular inventions of American music - lasting 40 minutes in all, some of them highly elaborate and virtuosic, as Robert Hampton's "Cataract Rag", Lucky Roberts' "Pork and Beans" and Eubie Blake's "Troublesome Ivories".

Where I have scores and/or comparative versions to allow for an informed opinion, Shields is mostly excellent to outstanding, to make one wonder why he didn't have more of a career (this is his only recording I am aware of). He's got the required virtuosity, snap, muscularity and sometimes frenzy (Ives' two Studies, Antheil's Sonata, Cowell's "Invention" and "Advertisement"), and a fine sense of color and atmosphere (Griffes, Cowell's "Exultation"). Only in Cowell's "Aeolian harp" do I find him, compared to the composer's own recording (Henry Cowell plays his own Piano Music), square in tempo ("Tempo Rubato" is the tempo indication) and greyer in his colors and dynamics.

But part of his program Shield plays on an inferior piano which can't sustain a chord, and the sound of the pedal mechanism can be heard in some like a short maracas rattle. In some of the pieces Shield's humming can be heard, not outlandishly out-of-tune like Glenn Gould's, but strangely raspy, as if produced with the help of a kazoo.

Composer Lejaren Hiller and Shields himself for the ragtimes contribute remarkably interesting, informed and informative liner notes.

Since i am into ragtime i was curious about orchestral movements.
I play alot of piano rags but you also would believe it was composed for orchestra

gunther schuller and his ragtime ensemble are in my eyes the bestest in this sector. They play the rags like they use to be.
i can recommend this CD to everyone who likes ragtime.

I love ragtime, but I don't love this CD. If you like the sound of a very loud snare drum dominating many of the tracks, then you'll like it. Before you buy it, try to borrow it from your local library to make sure it's for you. I wish I had. Let the buyer beware!

once again gunther schuller brings us the beautiful sound of orchestrated ragtime. but instead of focusing on Scott Joplin, he mixes in modern day rags. Mattapan Rag, composed by the tubist, shows how ragtime can be effective outside of the typical ABACD format established in early rags. a great suprise is the Smokehouse Blues. while not a "rag" it does use the ompah base and syncopated treble and therefore is very welcome. it also shows how southern ragtime is much dofferent from midwestern.

I first heard the New England Ragtime Ensemble on PBS many years ago, and the wonderful sounds from these talented musicians has stuck in my head ever since. The 17 tracks on this album are generally quite up-tempo, though the "slower" songs certainly wouldn't qualify as ballad (and hence would not be ragtime).

I was surprised to find any ragtime collection that does not include Joplin's "The Entertainer", but they have clearly not been wanting for good material to fill a CD -- every one is a winner. My favorites are Rob Carriker's "Matapan Rag" and a delightful (non-piano!) arrangement of "Dizzy Fingers".

Any fan of ragtime will love this album. I did.

Back in 1974, mezzo-soprano Joan Morris, and her husband, William Bolcom, recorded "After the Ball," a collection of turn-of-the-century popular songs, some of which hadn't been recorded since the early part of the century, if ever. Now, after bringing their talents to the music of Jerome Kern, Cole Porter, Rodgers and Hart, and most recently, Vincent Youmans, they return to the turn of the century with this delightful collection. Note: no compromises were made with the original turn-of-the-century lyrics; this CD is not for those obsessed with "political correctness." But then, those obsessed with political correctness generally don't have much taste, anyway.

Joan Morris and her husband, composer William Bolcom, take another trip back to the early days of Broadway musicals and earlier. In the same groove as their earlier albums, After the Ball and Vaudeville. A great addition to your collection if you love this kind of music, performed the way it was meant to be heard.

The other reviews posted here are correct as to the historical value, as well as the entertainment value, of these recordings. James Europe's place in Jazz history is beyond dispute. I take issue with the re-mastering process.

Some of the discs that these samples were taken from were not properly centered on the turntable during mastering. It varies from song to song from barely noticeable ("Mirandy", "Dixie is Dixie Once More") to sickening ("Broadway Hit Medley", "Plantation Echoes"). A little more care would have made for a more enjoyable CD.

The disc noise is not that much of a problem - it is endemic to the process, especially for acoustic Pathe discs (which is what these are). I could handle the surface noise if it weren't for the pitch bending with every revolution of the original disc.

I haven't heard the other re-issue of these recordings yet; I just hope it's better.

With the exception of singer/comedian Bert Williams and a few obscure gospel groups, James Reese Europe and his orchestra were the first black musicians to ever record. Europe's Society Orchestra cut eight numbers during 1913-14, several years before the Original Dixieland Jazz Band. It would be inaccurate to call that music jazz since it was essentially written-out arrangements without any real improvising, but Europe's performances were influenced by ragtime and hinted slightly at the syncopations of jazz. Unfortunately, none of those historic performances have yet been reissued on CD but his 1919 "Hell Fighters" Band's 24 recordings have been released on Featuring Noble Sissle from the collector's IAJRC label. Tragically, Europe was stabbed to death by an irate drummer just two days after the final recording which is why he is obscure in jazz history and was unable to make his mark in music in the 1920s. Europe had a large and unusual group that was comprised of four trumpets, four trombones, seven clarinets, two saxophones, two baritone horns, a tuba and two drums; in addition, Noble Sissle took occasional vocals and C. Creighton Thompson sings "Jazz Baby." Such future jazz standards as "St. Louis Blues," "Darktown Strutters' Ball," "Ja Da" and "Clarinet Marmalade" are among the songs performed but this is prejazz dance music (although much hipper than nearly all of the orchestras and military band on record at the time). Europe's arrangements come close to swinging, four years before King Oliver and Jelly Roll Morton made their first records. An essential acquisition for collectors.

This is an album of original recordings by James Reese Europe and the 369th U.S. Infantry "Hell Fighters" Band. Recorded in 1919, it is a really awesome collection for anyone who is interested in listening to the authentic music of the time. I am a collector of pre-1920's music, and have a number of Europe's dance recordings done for Vernon and Irene Castle. This album complements those originals beautifully, and proves that Europe was a great artist in his own right. If you are a fan of early 20th century music, Vernon and Irene Castle, or just good music, you will enjoy this collection. Especially liked "Darktown Strutters Ball." Makes you want to get up and do a nice old fashioned fox trot!

I am thrilled to own this wonderful disc. James Reese Europe is an essential part of American Music history and is finally starting to get his due. The music on this disc is comprised of Europe's complete recordings made at the Pathé recordings studios in New York City during the months of March and May of 1919. It will be very obvious to anyone listening that these recordings were made during the record industry's infancy; hiss and pops abound. However R.T. Davies, the same man who did the highly regarded Louis Armstrong Hot Fives and Hot Sevens remasters for the J.S.P. label, does not disappoint here. He has cleaned up the sound as much as possible without distorting the music. Europe's entire ensemble can be heard as well as technology will allow.

Europe is usually not omitted from university jazz history classes; he is far too important. However, as of last year, main stream America was largely ignorant of him. Ken Burns, in his documentary Jazz, gives Europe a good amount of tape, and more people are coming to his music. Europe is so important because he bridges the gap between the military brass bands playing marches and the prototype big band led by Fletcher Henderson and Don Redman out of New York. Given Europe's high profile and status after W.W.I, it is impossible to think that Fletcher Henderson would be unfamiliar with his music. Europe was a direct and powerful influence on the future evolution of American music.

His war record is also worth mentioning. A good number of songs on this disc relate directly to the war; "On Patrol In No Man's Land," and "All Of No Man's Land Is Ours," are both examples of this. These songs are not based on a behind the scenes view of the war. In W.W.I, army musicians fought. In Mark Berresford's substantial booklet that accompanies this disc, we learn that the 369th U.S. Infantry (Europe's all African American Regiment) were not allowed to fight alongside their white counterparts. They were placed under the command of the French Army and made their effect known. To quote Berresford: "The troops of the 369th saw action in both the Meuse Argonne area and in the Vosges mountains of Eastern France... Europe himself saw action as commander of a machine gun company, and in June 1918 was badly gassed." They performed so well under combat conditions that the French nicknamed the regiment the "Hell Fighters."

After risking his life for his country Europe came home and served us by playing the important role in the evolution of American music outlined above. I strongly recommend you purchase this disc. An intimate relationship with this music will enrich your life.

With the exception of singer/comedian Bert Williams and a few obscure gospel groups, James Reese Europe and his orchestra were the first black musicians to ever record. Europe's Society Orchestra cut eight numbers during 1913-14, several years before the Original Dixieland Jazz Band. It would be inaccurate to call that music jazz since it was essentially written-out arrangements without any real improvising, but Europe's performances were influenced by ragtime and hinted slightly at the syncopations of jazz. Unfortunately, none of those historic performances have yet been reissued on CD but his 1919 "Hell Fighters" Band's 24 recordings have been released on Featuring Noble Sissle from the collector's IAJRC label. Tragically, Europe was stabbed to death by an irate drummer just two days after the final recording which is why he is obscure in jazz history and was unable to make his mark in music in the 1920s. Europe had a large and unusual group that was comprised of four trumpets, four trombones, seven clarinets, two saxophones, two baritone horns, a tuba and two drums; in addition, Noble Sissle took occasional vocals and C. Creighton Thompson sings "Jazz Baby." Such future jazz standards as "St. Louis Blues," "Darktown Strutters' Ball," "Ja Da" and "Clarinet Marmalade" are among the songs performed but this is prejazz dance music (although much hipper than nearly all of the orchestras and military band on record at the time). Europe's arrangements come close to swinging, four years before King Oliver and Jelly Roll Morton made their first records. An essential acquisition for collectors.

Shortly after the IAJRC label came out with a CD reissuing all of the music recorded by James Reese Europe's unusual band during their four 1919 sessions, Memphis Archives put out a CD with the exact same material. The difference between the sets is that while IAJRC put out the material in strict chronological order, Memphis Archives instead chose to simulate a Europe concert. The liner notes of course differ greatly on these two competing sets, and the edge is given to Memphis Archives for Tim Gracyk's very extensive essay. The transitional music mostly hints at jazz but does not contain much improvisation. Europe's brand of dance music occupied its own category, including some Noble Sissle vocals, marching music, rags, waltzes, novelties and future jazz standards, and either of his sets (recorded just a short time before his murder) are recommended. Now if only Europe's eight groundbreaking titles of 1913-1914 would be reissued

I've collected ragtime recordings for some time, and I'm always delighted to find "non-traditional" arrangements of my favorite classic piano rags. Usually, I'm amused by the novelty of hearing these rags orchestrated for instruments other than the piano, but after a few plays, the novelty frequently wears off and I'm back to my piano recordings. Not so here! This is a magnificent recording by a top-notch group in the style of the Canadian Brass. The arrangements are fresh and exciting, they breathe new life into many of these classics. Still, the arrangements are faithful to the originals, and make no attempt to "jazz up" these old rags. The disc has a beautiful warm sound to it, and the members of the Avatar Brass Quintet play magnificently. I particularly like their versions of "Creole Belles," "A Real Slow Drag," and one of the prettiest rags I've ever heard, "Slippery Elm Rag." This has quickly become one of my favorite ragtime discs in my collection. I've listened to it dozens of times, but I never tire of it. Do yourself a favor and pick this one up before it goes out of print. Highly recommended!

This is a wonderful disc featuring classic American rags performed by a talented brass quintet. The timbral dynamics of the quintet are gentle and stunning at the same time. The ensemble's timing and inflection are excellent. Track times are good.

I endeavored to track down some music written by William Ryden, and ran across this gem of an album, consisting of rags arranged, and in one case composed, by him for brass quintet. (Some time back, I had been at a chamber orchestra concert, and one of the featured works, by Ryden, impressed me enough for such a search. That featured work, a setting of Lewis Carroll's "Through the Looking Glass" for vocal quartet, narrator and chamber orchestra, was perfect "pops concert" fare, but alas has yet to be recorded. Too bad; it was both charming and amusing.)

Ryden has to his credit the composing of more than 250 rags for piano. One of them-"Frogmore Stew"-is among the brass quintet arrangements on this album, and, based on its hearing, he seemingly deserves as much prominence as William Bolcom, following in the tradition of Scott Joplin (who has five of his more famous rags included on the album).

Scott Joplin! Who can forget the pathbreaking Nonesuch LP of his piano rags that Joshua Rifkin did more three decades ago, and the effect that album had on the genre? It wasn't just "The Sting" that reflected this rediscovery; this "craze of the times"; it seemed that everyone and his brother wanted to get in on the act. One popular release of the times was Gunther Schuller's "The Redback Book," with the New England Conservatory Orchestra. And I could swear that the Canadian Brass had taken their own whack at the craze, but, in checking my LP library, as well as an Amazon search, I may have conflated a possible Joplin album from them with "The Village Band" album, brass quintet transcriptions of other music from the Gilded Era.

Well, never mind the Canadian Brass! The Avatar Brass Quintet perform these works with all the skill and panache that one could ask for. Not only do we have five Joplin rags, as well as the one by Ryden himself, but equally famous works by Eubie Blake and Irving Berlin, a rare piece by George Gershwin, and a number of rags by some lesser-known contemporaries of Joplin.

What more could one ask for? Well, I for one would like to hear more of Ryden's own rags; maybe not all 250 of them, but at least a few more than just "Frogmore Stew." Perhaps an album that combines Bolcom and Ryden rags as arranged by Ryden for brass quintet would be just the ticket.

In the meantime, this "Magnetic Rags" album fills the bill nicely.

Bob Zeidler