May 2012 OCRS showcases
ragtime’s many facets
A small crowd of ragtime fans gathered
at noon at Steamers on Saturday May 19, and by 12:45, eight pianists
were on hand to entertain an audience of roughly 35. Our performance
was not allowed to proceed past 3 p.m., but we delivered a total of
33 selections. Like the March OCRS, the day’s selections covered
a wide range of ragtime genres (classic, folk, popular, novelty, etc.)
but also included non-ragtime pieces and more contemporary ragtime
works written during any of the several post-1940 ragtime revivals.
MC Eric Marchese opened things up by noting that two days hence, May
21st, was the shared birthdate of Harry Austin Tierney, May Aufderheide
and Fats Waller. Without any Waller pieces in his repertoire, Eric
offered Tierney’s “Variety Rag” from 1912 and Aufderheide’s
“A Totally Different Rag” (1910).
Eric noted that Tierney, after going on a tear and having at least
10 rags published in 1911 (preceded by a single rag in 1909), composed
only a few more. Two of these, “Cabaret Rag” and “Variety
Rag,” are from 1912. Eric is now transcribing the unpublished
“Cabaret” for piano. “Variety,” he noted,
is perhaps Tierney’s best piano rag and is certainly true to
its title, with an exciting opening theme featuring a call and response
between hands, a second theme with a quasi- habañera rhythm
in the bass and a trio with a broad, flashy, “show-biz”
ambiance. What’s more, Tierney not only named the rag for the
entertainment industry newspaper (first published in 1907); he got
Variety’s permission to use the paper’s well-known, distinctive
logo/masthead on the cover of the rag (along with a notice of having
gotten permission). “Totally Different” features three
pretty themes, its title most likely a reference to the use of augmented
chords – a “different,” unusual device for midwestern
pop rags of the time.
Ryan Wishner opened with Gottschalk’s “Orfa Grande Polka”
from 1854, and he handled its fiery, challenging pianistics with ease.
Next up was Scott’s 1922 opus “Broadway Rag,” a
rarely heard Scott piece among the last few rags to be issued by John
Stark and with a complex, virtuosic trio. Ryan closed his set with
“Impromptu,” the first of Zez Confrey’s “Three
Little Oddities” from 1923. (For the record, the other two are
“Novelette” and “Romanza.”) Its opening theme
is ethereal and melancholy and its second subject more pastoral and
pretty, and overall, the piece is both dramatic and emotionally evocative.
Vincent Johnson delved into the novelty genre with Jean Pacques’
“Lily” (1930), Rube Bloom’s “Sapphire –
A Musical Gem” (1927), and Billy Mayerl’s “Song
of the Fir Tree.” “Lily” opens with beautiful tinges
of classic ragtime before moving into a stormy section with adventurous
harmonies and ascending chord progressions, with even more striking
chord changes in the trio. Vincent observed that “Sapphire”
was “written orchestrally,” though the piece’s mood
is largely one of puckish frivolity. Mayerl’s piece, based on
a traditional Swedish folk song, has a lushly pretty opening theme
and interesting syncopations throughout.
Reflective of springtime, Shirley Case delivered a set of “bee”-themed
rags, start with “The Stinging Bee,” a 1908 rag by the
virtuoso ragtime pianist Mike Bernard. Its opening themes sound semi-classical
– classical ragtime, that is – and the C theme has a more
dramatic sound. Next up was Joe Lamb’s “The Bee Hive,”
published in 1959 but clearly written earlier – perhaps even
by several decades. Its first two themes sound like vintage Lamb,
but the highlight is the wonderful trio, with its rapid succession
of diminished chords and a closing strain that’s yet another
in a long line of great Lamb finales. Finally, we heard Jack Fina’s
“Bumble-Bee Boogie,” a ’40s-boogie arrangement of
Rimsky-Korsakov’s “Flight of the Bumble-Bee.” Shirley
said she first heard the piece on a 1946 recording by Fina and the
Freddy Martin Orchestra, and she improvises enjoyably in both the
boogie components (left hand) and the melody lines (right hand); the
syncopations of the final statement are particularly frenzied.
Andrew Barrett had a set of ragtime songs from 1912: “That Old
Girl of Mine” by Earle C. Jones (words) and Egbert Van Alstyne
(music), Albert Von Tilzer’s “I’m the Lonesomest
Gal in Town,” and “Be My Little Baby Bumble-Bee”
by Stanley Murphy (words) and Henry I. Marshall (music). Both “Old
Girl” and “…Lonesomest” are sweet, sentimental,
“old-fashioned” songs, and Andrew’s arrangements
of both, and his creative embellishments, are nicely performed. “…Baby
Bumble-Bee” features a lively, playful chorus with some wonderful
syncopations, and made for a fitting way to close the all-1912 set.
Bill Mitchell gave us a varied set that started with J.M Wilcockson’s
“Pride of the Smoky Row.” Bill recorded this wonderful
1911, rarely heard piece, subtitled “A Slow Drag,” on
his 1972 LP “Ragtime Recycled.” Bill said the composer
was a music dealer who lived in Hammond, Indiana, just across the
state line from Chicago, and that “Smoky Row” received
three piano rolls almost instantly before falling into obscurity.
Its folksy opening section has an underlying poignancy, its B theme
mixes ideas from both folk and pop ragtime, its trio is sweet yet
haunting, and its memorable, vampy interlude achieves a steamy sound
combining a circle of fifths and a riff pattern. Next up was “The
Whitewash Man” by Jean Schwartz, a Tin Pan Alley composer known
for songs like “Chinatown, My Chinatown.” Bill said his
earlier (1908) ragtime piece “The Pop Corn Man” is a “companion”
to “Whitewash Man.” The lively opening of “Whitewash”
flirts with the minor tonality, and both the trio and bridge are great.
Bill closed his set with Scott’s fanciful, lighthearted 1915
rag “Evergreen,” with its semi-orchestral A theme, charming
second section and a great Scott trio that Bill jazzes up in performance.
John Reed-Torres offered a set of two very early (1890s) non-rags
and one Joplin rag not often heard. First up was a crisp reading of
the cakewalk/two-step “Smoky Mokes” (Abe Holzmann, 1899),
then Joplin’s “The Favorite.” Written in 1900 but
not published until four years later, the piece was given fine embellishments
by John, who went to town on the closing themes syncopations. Finally,
we heard Joplin’s “The Great Crush Collision March”
from 1896, given an entertaining handling by John via various devices
– notably, shifts in tempo from fast to slow and use of tremolo
in the treble.
Bob Pinsker announced a set of contemporary ragtime, beginning with
“a piece written by our host” – that is, Eric Marchese,
whose “Winnin’ Time” was written in the early ’90s
as a paean to the Los Angeles Lakers, its title taken from a term
used frequently by Magic Johnson to exhort his teammates during the
team’s many 1980s championship runs. Sure enough, the piece
was bouncy and lively. Next was “Sun Flower – A Syncopated
Impression” written by Vincent Johnson in 2010, with a haunting,
introspective B theme that captures the sound of ’10s and ’20s
piano and an intricate, more playful third theme that features a break
and a descending treble run. Bob closed his set with a suitably crisp
rendition of Tom Brier’s “Just Peachy,” a swingy,
lighthearted foxtrot from 1992. To boot, Bob introduced Eubie-style
figurations in the bass, notably in the final theme. Bob noted that
the rag’s final strain has the type of harmonic sequence that
just begs for elaboration and improvisation. In keeping with this,
he played the strain a total of four times – including the introduction
of Eubie-style bass figurations – building to a big finish.
Opening the encore portion of the show, Eric offered two outstanding
yet rarely heard rags from 1912: “World’s Fair Rag”
by Harvey M. Babcock and Charles L. Johnson’s “Swanee
Rag.” Eric noted that Nan Bostick was especially tickled by
his previous renditions of “World’s Fair,” a wonderful
rag with two boisterous themes followed by a more subdued yet still
exciting trio. Eric characterized the inventive “Swanee”
as one of Johnson’s unheralded masterpieces, a creative mixture
of numerous musical devices that far exceeds the basic premise of
quoting Stephen Foster’s “Old Folks at Home” (“Swanee
River”), a phrase that occurs in the trio.
John encored with “Maple Leaf Rag,” mixing in unusual
harmonies and rhythms (eg. tango, Stride etc.). He then delivered
an original, “Belle of Los Angeles,” a lively stomper
that opens with a creative reworking of the A theme of “Maple
Leaf” before moving into an exciting, heavily syncopated B theme.
The trio is especially creative, with a melody that dabbles in the
minor tonality, wild chord progressions and the use of habañera
rhythms.
Vincent’s encore also included an original – the tender,
beautiful classic rag “Tiffany Lamp,” which has much in
common with the lyrical works of Lothar Perl. He then offered Perl’s
1932 masterwork “Black and White,” whose jaunty opening
section has clever harmonies, while in sections of its trio, both
hands move in parallel motion. Both pieces display Vincent’s
expertly light, lyrical touch.
Bill returned to the stage and, noting May 21st as the shared birthdate
of Tierney, Aufderheide and Waller, said we hadn’t yet heard
any Waller tunes – so he offered a medley of four of Waller’s
best pieces. Bill played the medley first before revealing the selections.
In order, they were the bluesy “Squeeze Me,” upbeat, jaunty
“Honeysuckle Rose,” romantic “I Got a Feeling I’m
Falling,” and jazzy “Ain’t Misbehavin’.”
Bill then answered an audience member request for Scott’s masterpiece,
“Grace and Beauty.”
In line with several of the very early Joplin pieces heard today,
Ryan offered a piano arrangement of “A Picture of Her Face,”
a Victorian-style waltz-tempo ballad Joplin wrote in the 1890s as
part of the repertoire of his Texas Medley Quartette. In 1895, when
the vocal group toured as far north as New York, Joplin sold the piece
to Leiter Bros. in the town of Syracuse – and it is only the
second published piece of music to bear his name. Ryan accented certain
phrases through the use of tremolo, typical of the way such pieces
would have been played at that time.
Shirley Case served up Lamb’s wonderful “Chimes of Dixie,”
one of the 13 “new” Lamb rags published in the 1964 folio
“Ragtime Treasures.” The rag cleverly quotes, and syncopates,
snippets of “Dixie”; like Johnson’s “Swanee
Rag,” it also quotes “Old Folks at Home” (“Swanee
River”).
Unfortunately, the tight schedule at Steamers prevented us from hearing
Andrew and Bob’s closing tunes – so we’ll reserve
extra playing time for both gents at our next meeting, at Steamers
in June, when our normal performance time of 1 to 4:30 p.m. will resume.