The Music of Clarence Williams

Songs

Clarence Williams was born in Plaquemine, LA in 1893,mvoing to New Orleans in 1906. One of his earliest musical experiences was in 1911 when he traveled with a minstrel show. Returning to New Orleans around 1915 he opened a music publishing business with A. J. Piron, a popular orchestra leader in the city. Moving the business briefly to Chicago he then permanently moved to New York City. He was very successful in this business and also was active in recording, especially with Okeh Records. Williams recorded more frequently than any other black musicians of the 1920’s (apart from Fletcher Henderson) Williams, although not an exceptional pianist was a very dependable one. He was an exceptional organizer and promoted the works of: Fats Waller, James P. Johnson, Willie "the Lion" Smith, and Spencer Williams. While writing numerous popular songs his best known being "Royal Garden Blues, "Baby, Won’t You Please Come Home," and Tain’t Nobody’s Business If I Do."

Clarence Williams played an important part in jazz history. He was said to have been a modest, unpretentious character living entirely for his art. His tendency was to remain in the background. His work is a reflection of his character; it does not show aggressiveness nor seek to impress but it is simple and flows melodiously in unobtrusive beauty with restrain yet control with profoundness in arrangement and an inner coherence, the music of a highly talented musician.

While his contributions to the art of jazz are seldom mentioned in the literature of jazz, his field of written jazz was de-emphasized until the emergence of the "big bands." His art was perhaps too refined and ahead of its time. The depression proved fatal as it put a stop to his efforts to keep up the values of jazz music menaced by the vogue for hot jazz, which emphasized unrestrained, wild and fierce music, tailored to show off the soloist supported by a heavy, over-emphasized, yet over-simplified rhythm. Williams’ music stressed more traditional new Orleans style - solid yet mild (almost soft), with a light and supple rhythm - the emphasis on melodious (but never exuberant) variations on the main theme. His music was said to be "never sweet, coy or weak. It had a sturdy solid strength, a deep emotionality, an inner calmness that provided freedom for inspired beauty and true art."

His ideals, when we look back in retrospect, have been upheld. Their musical values, through time, have been proven valuable and in this program of his music we have a concrete record of the jazz music of his tradition and style, and they are his legacy. His music has given Williams a rightful and important place in the history of jazz. The program traces, through his music, the evolution of jazz from his early publications in New Orleans, to Chicago, and finally New York.

Clarence Williams’ music presents the authentic early jazz sound of New Orleans. He was respected as a pianist and as a music publisher. His publications were both a guide and barometer for other publishers. He hired the best of arrangers (among them William Grant Still and Don Redman) and working bands could rely on the music he published as the genuine, authentic sound of this ever increasing popular music to be called jazz. In his publications one could find the latest trends in jazz rhythms, chord progressions and the latest (and many times leading) trends and jazz ‘gimmicks’ of the era. The use of jazz breaks, riffs, special effects (even examples of early rap) can be seen and found in his publications.

His importance in the advancement and popularity of early written jazz cannot be over emphasized.

On this program we will present many original compositions by Williams along with music by other composers which the Williams Publishing Company released.

New Orleans 1915 - 1916

Chicago 1917 - 1919

New York 1920 - circa 1942

You Missed A Good Woman - 1915

This piece is in traditional song form with limited use of syncopation as a characteristic figure. At this time I must say something about the use of what is called a "vamp." Usually two bars long, it is placed after the introduction and before the first section. It is also usual that the first two bars of the vamp contained a melody quoting the theme of the first section.  The vamp was included for: 1) to give time to the dancers to get on the floor after hearing the tempo and style of the introduction, and, 2) to give time for the singer of the band to begin his entrance to the front of the band to begin singing. It is repeated ad libitum until the soloist and/or dancers are ready at which time the conductor signals to commence the first section.

In this piece the 'blues' characteristic three chord progression is used in diminution form, being present in only 8 bars, giving the first section a blues feeling. This feeling is emphasized by the use of the flatted third and seventh with conventional harmonic progressions.

That Ought To Do It - 1916

A good example of Williams' gift of melodic flow, with the limited use of syncopation, can be heard in a song that is in the style of popular songs during the late teens of the early 20^th century. The use of harmony is conventional within a simple 16 bar song form. The chorus is also 16 bars. "That Ought To Do It" is one of Williams' earliest compositions, being published in New Orleans in 1916. During this era New Orleans was the site of a flourishing music publishing industry in which Clarence Williams and A. J. Piron entered. Williams', in 1919, moved to Chicago, staying only a short period before moving on to New York City where he ran a most successful publishing business until his death in 1965.

I Can Beat You doing What You're doing Me - 1916

Co-composed by Clarence Williams and . J. Piron, after an 8 bar introduction and 2 bar vamp, the song is presented in two section, each of 32 bars. This composition is typical of the commercial pop songs of the era prior to a more abundant use of syncopation, although in bars 17 through 24 of the 2^nd section, it effectively uses syncopation, with the 'and' of the second beat, tied to the 1^st beat of the next measure creating the syncopation. While it is not given a stylistic category its style is that of a one-step and is marked Marcia.

Brown Skin, Who You For - 1916

Published in New Orleans in 1916 by the Williams/Piron Music Pub. Co., the song became very popular in the city of New Orleans and was used during the Mardi Gras for a number of years. In the book "Hear Me Talkin' To Ya' Williams states:

"After "Brown Skin" was published everybody was writing songs in New Orleans, I was the first to use the word 'jazz' in a song."

Brown Skin might be termed the first 'rap' song as it has jazz breaks that are given to the singer who recites a few lines in rhyme. The message of the song relays the thought that, in 1916, in New Orleans, many blacks felt they wanted to have lighter skin. The words state:

"While I play this time I want to see some brown skin girl do the shiveree. Who are you for my sweet mama. I am for you if you want papa. You want to be brown skin like the rest, just use that Palmer's skin success."

Chicago

Wild Flower Rag - 1917

This is an arrangement by T. B. Bryan. He is the arranger of "Cocoonut Grove Jazz," a song that is one of the earliest mentioning of the word jazz in its title (1917). "Wild Flower" is an arrangement that is through composed, having no jazz breaks or riffs. It was probably written primarily for dancing. There are no solo passages. There is a later arrangement/recording of this tune in 1928 with legendary cornetist "King" Oliver with Benny Moten and Ed. Allen that presents space for solos and jazz breaks, the style of the times. Within the two we can see the progress and style changes of jazz arranging. When one listens closely we can also hear the lack of technique from the players on the 1928 recording. The stocks played in the early 20^th century were played by musicians that usually had good musical training - these musicians being from the tradition of the many town brass and string bands and in New Orleans in the great Creole orchestras.

Wild Flower Rag's main theme is arpeggio-like and uses octave jumps with little syncopation and requires good technique from the musicians to execute it correctly. It is written with a pianistic style melody, better suited for a keyboard than wind instruments or strings.

Dance They Called The Georgia Hunch - 1919

Published during Williams' brief time in Chicago, one can hear a style change from the previous songs, to a 'tempo di jazz.' Also found is a greater use of syncopation and this song and its jazz feeling seems to be the transitional step between the two-step style of the previous selection to the jazz songs of the early 20's. Arranged by Dave Payton, a very famous Chicago musician and best known for his column in the Chicago Defender on the music scene in Chicago. The Chorus of the song contains a syncopated motif (in the bass) repeated as a sequence a tone higher. The use of a flatted third appears in the bass part.

Royal Garden Blues - 1919

Co-composed by Clarence Williams and Spencer Williams (Basin St. Blues, Sugar Blues) is also arranged by Dave Payton. The song achieved great popularity and lasting fame. One of the most famous 4 bar jazz breaks in all of early jazz is found in the third repeat of the 12 bar blues pattern. After a 4 bar transition one finds a very familiar jazz riff that became a very popular one in early jazz. It is featured in the 5^th repeat of the 12 bar blues pattern.

We find an early inclusion of the saxophone in this arrangement with the use of both the alto and tenor saxophone. By 1919 the sax is a common instrument in the jazz band. It was first used around 1914 as a complimentary instrument usually written to double other parts, but soon became the main backbone of the jazz orchestra and the featured saxophone section of the 20's jazz orchestra. We can hear the growth of the sax section from a solo doubling instrument to a growth of one to two, to three, to four  and finally five by the end of the 20's. It became the dominant instrument and sound that was associated with the jazz orchestra. The sound of the jazz orchestra of the 20's was a very important part in the history and progress of jazz.

New York

Don't Tell Your Monkey Man - 1920

Reminiscent of the popular song of the 50's "Abadaba Honeymoon," "Monkey Man" is the story of a suitor's attempt at winning the heart of a young girl from her steady boy friend - told through the parody of using monkeys talking. An interesting item is the cover of the sheet music which examples that the song was introduced at the Marigold Gardens by Bill Robinson (Bojangles). In the bottom center we read 'Home of Jazz" below a picture of a slave cottage with musical notes coming out the chimney."

The chorus uses a steady bass rhythm, hitting on all four beats, and also uses the quasi blues progression in the first 8 bars. The first 2 phrases end with is really a jazz break before continuing with the second section. The jazz break uses the beginning bars of the Tune "Pretty Baby" written in 1916 by the famous pianist Tony Jackson.

Look What A Fool I've Been - 1921

This song is a good example of the musical style and feeling of the music of the early 20's. You can image yourself walking on the Broadwalk in Atlantic City during the roaring 20's and hearing the band on the bandstand playing the popular music of the day. In the 2^nd section we find the marking 'lamentoso' 9usually meaning music of an elegiac, mournful character). It is placed after 16 bars of melody and contains an accented 4-quarter note figure in the bass, setting up a well-defined beat for 6 bars. This leads to a stop time rhythm for 4 bars, followed by the returning of the theme to a cadential ending. There is the use of chromatic harmony reminiscent of the period.

I Wish I Could Shimmy Like My Sister Kate - 1922

A.    J. Piron, the New Orleans Creole orchestra leader, and

Clarence Williams published one of the most successful and popular songs of the early jazz era.

"Sister Kate" is surrounded with controversy as to the real composer of the song. Louis Armstrong said he was the composer, writing the melody using a different title and lyrics. He called it "Up In Maddie's Bunk," and is said to have sold it to Piron for $52.00. Neither Armstrong nor Piron ever recorded the song. The date of authorship is given as 1915, it was copyrighted in 1919 and published in 1922.

Got To Cool My Doggies Now - 1922

After much studying and playing through this song I think I have come up with the purpose of the title of the song. The placement of the 'patter' section and the title give us the clue. This is a song that either ended a dance set or ended the dance. The title of the song denotes a rest period and the patter section is so set (with a D. S) which enables the conductor or announcer to give credits to the band leader, soloists, etc., during this section the band sound becoming softer (marked 'mp') before returning to the chorus for the final playing of the theme.

Kiss Me Again - 1923

This song was arranged by Don Redman and co-authored by famed jazz pianist 'Fats' Waller, and Clarence Williams, and is marked a fox trot. By the contour of the melody it would seem that this is more of an instrumental piece than a vocal one. We find an interesting tutti in bars 13/14 - a chromatic descending passage which remains one of the passage from a modern composition entitled "Gospel John. "There is present what is called an extra chord and is akin to the second section or chorus. It appears like this extra chorus is a jazz adaptation of the 2nsd section with a very creative use of tutti and even a boogie-like bass pattern. The use of stop time is used and then we find a return to the beginning by a D. S. To play this extra chorus would require a little rehearsal time as the need is to get the tutti section tight with the ensemble. This  very great arrangement is by Don Redman, a man famous for his later arrangements with the Fletcher Henderson, Count Basin and Jimmy Dorsey orchestras.

Omaha Blues - 1924

As with so many other songs of the period, "Omaha Blues" is not a traditional blues but more of a jazz song in the style of the era of the 20;s. There is a very catchy melody, one that you can whistle once you hear it. There is a patter section that need not be played but the publishers of the era included a section so the announcer could talk before the band returns to the chorus. This section was often used in the numerous radio shows of the day when the band opens the show, then the announcer states the participants of the radio show, then the band comes in loud again.

Jail House Blues - 1924

Co-written by Clarence Williams and Bessie Smith of whom Williams served as pianist, is presented in a slightly altered 12 bar blues pattern. It is not a slow blues but is marked moderato tempo and is in reality a set of variations on a blues progression, with numerous examples of syncopation and flatted 3rds and 7ths. It was made famous by the great blues singer Bessie Smith. There is a 'special' chorus before the D. S. using jazz breaks by the clarinet, trumpet, saxophone and trombone.

Papa, De-Da-Da - 1925

Called a New Orleans stomp, this song is a good example of a jazz era piece using the harmony of the times. It was arranged by Don Redman, and like "Kiss Me Again," the piece contains an extra chorus that returns to the main theme half way through. There is a consistent rhythm (o o o o ) used in the chorus ([presented first) and the verse, and is in augmented rhythm in the extra chorus. As with "Kiss Me Again" the extra chorus requires a tight tutti sound and contains jazz breaks and a sort of hemiola (an inserted meter on another - a ¾ meter in 3 bars of 4/4). There is also a unison band vocal - actually spoken saying "De-Da-Da." This reoccurring rhythm remains, probably with the dancers stomping their feet to the rhythm.

What's The Matter Now - 1926

Written by Clarence Williams and Spencer Williams (no relation) this song can be closely examined as to the use of saxophones. Beginning around 1919 we find the evolution of the sax as a jazz band instrument and its inclusion into the main stream of the instruments used in jazz bands. We can examine its growth from one sax to four and five, from its use as an extra voice - the arranger not sure how to use them - to its use as the main backbone of the dance orchestra. This use of the saxes will be studied in a program on the evolution of the saxophone in jazz bands.

The piece contains some unison band vocals and jazz breaks and even has both a special chorus and a 'hot' cornet chorus. It was arranged by Joe Jordan. "What's the Matter" is a good jazz song with a use of the Charleston rhythm somewhat in a varied form in song form - 8/8 phrasing style.

Charleston Hound - 1926

The dance called the Charleston first appeared in the black musical comedy "Lisa" in 1922. James P. Johnson's composition the "Charleston" became enormously popular in 1923 and became associated with the jazz age. The tempo was fast 50-60 per minute, with its characteristic rhythm was used in other songs and dances of the era, especially in the "Black Bottom."

Charleston Hound was written by four of the biggest names of the popular composer's field: Clarence Williams, Spencer Williams, "Fats" Waller and Eddie Rector. It is labeled a fast fox trot. It was written in 1926 and published by the Clarence Williams Pub. Co. The song is basically in song form or 8 bar phrase structure. After a two-bar introduction there is what can be called a verse of 16 bars. The main theme is then presented at B with some scat lyrics. The sections that follow are variations on the first Theme at A. Section D is orchestrated for 3 clarinets. The last section is marked pp and there is a D. S. and ends with a 4 bar coda. There are jazz breaks and great tutti riffs throughout, making this a real swinging arrangement.

Old Folks Shuffle - 1926

Co-composed by Clarence Williams and the famous Thomas 'Fats' Waller. Both gentlemen noted for their talents on the piano. Waller became a famous early jazz figure. There is a great use of jazz breaks in bars 7 and 8 of the 2^nd section. The third section is a 'hot' chorus presented for the trumpet and trombone, after a D. S., followed by a tutti section written for 3 soprano saxes but usually played by clarinets. The piece ends in a stomp ensemble that presents the same jazz breaks heard earlier.

Nobody But - 1926

Labeled a fox trot, this song is written by Clarence Williams and Andy Bazar. After an 8 bar introduction, the theme (A) includes a vocal for 32 bars. Section B sounds like a transition to Section C, which is `16 bars long. At section D a different orchestration of theme A is presented. It continues with a repeat of D with the use of stop time before the D. S., which includes a coda of 5 bars. Also included is a soprano sax break to the end.

Cushion Foot Stomp - 1927

Cushion Foot" is a good example of written jazz that 'swings' and can be considered a pre-Count Basie riff style throughout the song. After a riff sounding introduction of 8 bars the main theme (a 12 bar blues) is presented at A. At section B the series of riffs begin, not using the blues progression but in song form using 8 bar phrasing. Section C is the same melody as A but different orchestration. The trio is preceded by a transition changing the key from Eb to Ab. Section D is another riff rhythm. D2 continues the rhythmic riff. Finally ending with section E we find another riff leading to a D. S.

You're The Only One That I Love - 1928

This is a song and dance piece from the musical production of "Bottomland" with lyrics by Clarence Williams and music by Len Gray. After an introduction and verse of 16 bars, the chorus, which includes a vocal, is presented at section B, the lyrics being sentimental. At section C the main theme is presented in a new key from F to Bb. At section D the theme is repeated in D minor and repeated with a change in orchestral color to the fine.

Harlem Rhythm Dance - 1933

Written in 16 bar form, the 2^nd repeat is extended 2 bars, followed by a 4 bar transition and modulates from Eb to Ab, then going to F. The theme is presented again in the Ab section. It seems like a series of jazz riffs, with lyrics in 'jazz' language and is marked "swingy and fast."

Mama's Got It - 1942

Written by A. J. Piron and Clarence Williams, this song comes at a late time in their two careers and is interesting as it is a kind of echo piece with the vocalist singing a bar and the band answering such as: "Mama's Got It" (the band sings: Mama, Mama). This continues for 32 bars with the singer taking 4 bars of melody between echoes. At section B there is a verse presented which modulates from C major to Ab major. Section C is labeled optional girl vocal and is an echo and a repeat of the theme (A). Section D is again the main theme (A) presented and is riff like. Could this be a take-off on Cab Calloway's well-known theme song?

Baby Won't You Please Come Home - 1919 (arrangement-1945)

Perhaps the most famous of Clarence Williams' songs, it was written in 1919 and the present arrangement is from 1945. It is an arrangement for 'big bands' of the swing era of jazz but includes a section in the style of a Dixieland Jazz Band.