Types of Negro Music Leading to Jazz Evolution

Songs

MOANIN DOVE - c. 19^TH  Century

DEEP RIVER - Arranged in 1916 - H. T. Burleigh

 Negro Spirituals hold a place of importance in the development of early American music. The art of singing a spiritual demanded a style and talent to embellish a melody. This technique of improvising was one of the main influences in the development and evolution of the jazz style, and was to be one of the most exciting elements of jazz. Preserving these early spirituals - an oral music - was long neglected, either from a lack of foresight, and/or the difficulty of notating an oral musical technique, a style that presented a different performance each time. Through the dedication and foresight of a few, some of these early spirituals were preserved. Such a man was Robert Emmett Kennedy, from Algiers, Louisiana. Kennedy wrote both the lyrics and music of the spirituals he heard around the New Orleans area. These may be found in his books: "Mellows," and "More Mellows." (Mellows" has been reprinted and is available from Basin Street Press.)

An emphasis and the realization of the importance of using American national music of the Negro and the American Indian musical heritage was created by the visit of the world renown composer, Anton Dvorak in 1897. Through the influence of Dvorak, a number of American composers began using Negro and Indian melodies as compositional material. H. T. Burleigh, a pupil of Dvorak, published a number of spirituals in his rich harmonic style, one of which is "Deep River."

SALLY COME UP - 1860 - Dan Emmett

The minstrel Show was a popular form of entertainment, having its beginning in 1843. The Virginia Minstrels were lead by Dan Emmett. The Minstrel Show contained both Black and White entertainers, both wearing blackface. Many popular songs were written for the numerous minstrel troupes that traveled throughout the United States, one being Stephen Foster. We will present an early song "Sally Come Up," that was published in 1860 and used in various minstrel shows.

HOT TAMALE ALLEY - 1896 - G. M. Cohan

G. M. Cohan (1878-1942) was most famous for his popular song hits such as "Yankee Doodle Danny," Grand Old Flag," and "Over There." Cohan wrote about 20 plays and musical comedies appearing on the Broadway Stage. Cohan, like Irving Berlin, wrote popular music that included writing songs on subjects that were in vogue. Coon singer May Irwin wrote the lyrics which are typical of the era. Perhaps the most famous 'coon' singer was Sophie Tucker.

UNCLE JASPER'S JUBILEE - 1898 - E. T. Paull  

"Jasper" is labeled a Two-Step, Cakewalk and/or dance characterisque and is entitled a 'Jubilee.' A Jubilee has no special musical characteristics other than that of a cakewalk. The early cakewalks are examples of the beginning of ragtime music and are but one step to the evolution of jazz. This song is notable as it was arranged by the great cornetist of the Sousa Band, Herbert L. Clarke. Clarke gave the style a very professional endorsement that I am sure helped the general public to accept these cakewalk pieces as true musical worth, and hastened the development of well-read composers to compose 'classical' rags.

This piece is another example of the march-like feeling of a song that uses the cakewalk rhythm.

DUSKY DUDES - 1899 - J. Schwartz

During the year 1899, cakewalks were one of the most popular styles of American popular music. Within the song there is multiple use of the cakewalk rhythm. Written in a quasi march form it is an excellent example of a cakewalk at the turn of the century. The cakewalk brought to the foreground of American popular music this style of Negro music and rhythm. The cakewalk is a direct ancestor of the music called ragtime.

BOS'N RAG - 1899 - Fred Stone

Possibly one of the first true classic rags, it was published in 1899, about the same time as the "Maple Leaf Rag" of Scott Joplin. This piece shows the progress made in the evolutionary process where there is less evidence of the march and the traditional cakewalk rhythm, into the rhythms and character of a very early rag.

The composer, Fred Stone, and his orchestra monopolized the Detroit entertainment and social world to almost complete exclusion of White performers up with the 1920's. His hold on music jobs continued well into the 20's when the 'name' bands began to overtake the Stone Empire.

GAZABO - 1902 - D. S. Godfrey

Written as a buck and wing dance, "Gazabo" uses the cakewalk rhythm and tied syncopation with the use of a staccato style. There is an interesting counter-melody in the trio that is reminiscent of a baritone horn playing a counter-melody in a standard march. It is rag-like in the classical sense and with no stereo type rhythm that would characterize a buck and wing dance. It could and probably should be classified as a cakewalk, rag or two-step.

SWAMPTOWN SHUFFLE - 1902 - H. W. Jones

Subtitled two-step, polka or march, this piece contains syncopation as used in the early cakewalks and could be played at a slower or faster tempo, depending on the type of dance that was required. Perhaps this variance in tempo was part of the evolution from the two-step/march into its use by Tin Pan Alley of the early rhythms of the popular music of the era that would be called a 'jazz' tune. "Shuffle" contains cakewalk rhythms and seems to be an attempt of the publishing company to sell this song that would please many different buyers. The trio of Swamptown Shuffle is very polka-like with no syncopation until the 9^th measure. We find a D.C. which returns to state the 1^st theme. There does not appear to be any characteristic that could be deemed as part of a style called a shuffle.

A shuffle is defined as: a dance step of indefinite southern Black American origin, perhaps dating from the 18^th century, in which the feet are moved rhythmically across the floor without being lifted and the coming together of beats smoothly without accents.

BETHENA WALTZ - 1905 - Scott Joplin

Scott Joplin is known for his many ragtime compositions.

We are familiar with his "The Entertainer" and The Maple Leaf Rag." Joplin also wrote two ragtime operas and other popular styles of his era. Not as well known, but an innovation of Joplin is found in his "Bethena Waltz." Written in 1905, it is a ragtime waltz using syncopation throughout the composition.

SHUFFLE AND TAPS - 1910 - Brynes/Winne

Written by Ribe Denmark (real name-J. B. Lamp), "Shuffle" is marked a 'stop dance.' There is no regular rhythmic shuffle pattern. The first section uses the cakewalk rhythm. Sections 2 and 3 are march-like, with only an occasional appearance of the cakewalk rhythm. An interesting imitation effect is presented in bars 13-16.

DOWN HOME RAG - 1911 - W. Sweatman

Titled a 'rag' it is also notated as a buck dance. There is no evidence of what a buck dance was like. Some say it is a dance done by a Negro man (called a buck by slave owners). Others say it is a stylistic dance more like a hard stomping version of the vaudeville 'soft shoe' dance.

The piece contains syncopation, dotted rhythms and a rather boring repeated melodic pattern in sections A, B, and D. The reason this is being played is that it did become very popular - so popular that the Tuxedo Orchestra of New Orleans, in 1925, re-arranged the piece and added space for improvised solos, showing the evolution from the early dance pieces of early rags into the jazz songs of the 20's. They entitled it "Black Rag."

I CAN BEAT YOU DOING WHAT YOU'RE DOING ME - 1916 -Clarence Williams/A. J. Piron

Co-composed by Clarence Williams and A. J. Piron, it is a popular song typical of the commercial pop songs of the era prior to a more abundant use of syncopation although syncopation does appear in bars 17-24 of the 2nd section. While it is not given a stylistic category its style is that of a one-step and is marked Marcia.

NIGGER WAR BRIDE BLUES - 1918 - M. LaBlanc

Jazz and Negro music gained great popularity after the 1^st world War. American publishers rushed to publish jazz style music as jazz was gaining in popularity. Marked a 'slow drag and trot,' the song contains syncopation throughout its two sections. It would be termed a jazz tune and it is typical of the jazz songs composed after the war.

DANCE THEY CALLED THE GEORGIA HUNCH - 1919 - Spencer Williams

Published by Clarence Williams Publishing Company then based in Chicago, one can hear a style change from the above song to a 'tempo di jazz.' Also found is a greater use of syncopation. This song and its jazz feeling seems to be the transitional step between the 2 step dance style of the previous selection to the jazz songs of the late 20's. It was arranged by Dave Payton, a very famous musician of Chicago, well-known for his columns in the Chicago Newspaper the "Defender" of the music scene of the city.

THE STOMP - 1923 -  Hendrickson

A stomp is defined as: "A heavy, strongly marked beat associated with early ragtime and early blues form, characterized by stomping feet. A 'stomp chorus' is the final chorus of a lively piece, played in a loud, spirited manner." Groves Dictionary of Jazz defines a stomp as: "The final chorus of a rag, march, or other lively piece, when played in a loud, spirited manner and is called a 'stomp chorus.'

This piece is interesting as we see these heavy beats in the lower parts with a syncopated melody in the upper parts. It is also marked with accents that could be characterized as stylistic rhythm in stomps. The piece also is known as "House Rent Blues" and is another use of a Negro style by Tin Pan Alley composers.

CHICAGO BREAKDOWN - 1925 - Jelly Roll Morton

Primarily known as a jazz pianist, jelly Roll Morton's importance in jazz history partly lies in his early jazz compositions and arrangements for early recordings. These arrangements, with the help of a professional arranger, brought the authentic new Orleans sounds to the world. Morton insisted his musical ideas be used in the arrangements with space for jazz solos. He also insisted on using some New Orleans musicians in the recording band to insure a 'real' New Orleans sound.

Section A and B are written in 8 bar jazz phrasing with jazz breaks leading to a D. S. that repeats sections A to a third ending going to a trio that modulates from Bb to Eb. The trio is divided into 8 bar sections, the last section of 8 bars containing new material with jazz breaks and a source of textual contrast.  

SNAG IT - 1926 - Joe 'King' Oliver

Once jazz reached Chicago and moved onto the national scene, it became the most popular dance music around. No one group did more to shape the jazz style of this era than the Joe 'King' Oliver Band with Louis Armstrong on trumpet. Though only on the scene for a brief time, Oliver's place in jazz history is secure thanks to the influence of his ensemble. 'Snag It' became a national hit and was one of the few songs put into music with Oliver's name on it.

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