Classics, Novelties, lady
ragtimers and non-ragtime dominate June 2010’s Steamers OCRS
The June 2010 OCRS featured an interesting
and somewhat eclectic mixture of Novelty piano, Classic ragtime, rags
written by women composers, and pieces that are pretty much outside
the lines of pure ragtime. A total of 25 out of the day’s 37
selections by our 10 musicians fit these four categories.
The ragtime society started more than an hour later than usual due
to another Steamers event’s overlapping with us. Bill Mitchell
opened his set with Stride composer Luckey Roberts’ Luckeyesque-sounding
“Music Box Rag,” then continued with Ford Dabney’s
“Georgia Grind” and closed his set with “Original
Rags,” Scott Joplin’s first published rag. As usual, Bill’s
playing was pleasantly swingy and jazzy.
Marilyn Martin delivered Harry Jentes’ wonderful “Bantam
Step” (1914) and the Chauvin-Joplin collaboration “Heliotrope
Bouquet,” taking both at a comfortably slow and steady pace.
Vincent Johnson lined up three contemporary Novelties: Tom Brier’s
“Treble Trouble” (1997) and two originals, “Ticking
Julie” (2008) and “Sweet Pea” (2010). One of Brier’s
best rags, the wildly imaginative “Treble Trouble” received
a nice rendering from Vincent. This was the first public performance
of “Tickling Julie,” which offers a fresh approach and
fresh ideas to the Novelty genre, including the many “tickling”
triplets. “Sweet Pea,” by contrast, is soft and dolce,
clearly inspired by the works of Mayerl.
Shirley Case brought us the second of several Classic rags –
this time, Joe Lamb’s “Cottontail Rag,” inspired
by Shirley and husband Storm’s having seen cottontail bunnies
while walking at the Montage city park walkway along the ocean bluffs
near their Laguna Beach home. The intricate rag is, of course, a Lamb
masterpiece.
Next up, “Sun-Kissed Roses,” a non-ragtime waltz by Nat
Johnson (“Calico Rag”) from an original sheet Shirley
had just acquired. Featured on its back cover is the 1911 classical
waltz “At the Ragtime Ball,” which was the third number
in Shirley’s set. The final number has cute lyrics about a big
ragtime ball which Shirley sang while accompanying herself.
MC Eric Marchese continued the non-ragtime waltz theme with the rarely
heard “Augustan Club Waltzes,” a non-syncopated 1901 opus
by Joplin dedicated, like “Maple Leaf Rag,” to a social
club in Sedalia – presumably one that, like the Maple Leaf Club,
was for blacks only.
John Pool, a friend of Marilyn’s visiting from Texas, brought
two delightful vintage Novelties: Roy Bargy’s “A Blue
Streak” and Charley Straight’s “Wild and Wooly,”
which Vincent Johnson had just transcribed for Frederick Hodges. “Blue
Streak” is a very bluesy Novelty, a great Bargy piece outstandingly
played here by John. In the unusual (for ragtime) keys of E and A
major, “Wild and Wooly” has Straight’s distinctive
sound (eg. breaks, dissonances, minor tonalities) and, in John’s
hands, sounds like its origin is a piano roll.
Robert Wendt delivered quite an eclectic set, starting with J. Bodewalt
Lampe’s 1901 cakewalk “Creole Belles,” one of the
big hits of the early ragtime era. Next was the 1906 edition of Joplin’s
“The Ragtime Dance” that John Stark issued to recoup his
losses on the piece’s 1902 publication, which ran nine pages
and included Joplin’s lyrics and dance steps. Robert gave this
version an aptly slow tempo and a pretty sound.
Robert closed his set by introducing us to a new instrument. Called
the “Xaphoon,” it’s essentially a miniature clarinet.
Robert’s selection was the non-ragtime song “What a Wonderful
World,” the piece he said was originally written by George Weiss
and Bob Thiele for Tony Bennett; Bennett passed on the song, which
wound up becoming associated with the great Louis Armstrong. Robert
played the melody line, with Eric providing piano accompaniment.
Andrew Barrett played Albert Gumble’s “Chanticleer Rag,”
which turned 100 this year, and two more Nat Johnson pieces –
the non-ragtime waltz “Hesitation” (1914) and, from 1913,
the wonderful “Gold Dust Twins” rag. “Chanticleer”
sounds like a cross between Tin Pan Alley ragtime and the works of
Ford Dabney. “Hesitation” is soft and pretty. “Gold
Dust,” named for the famed twins (depicted on the cover) whose
name and image were used to sell detergent and baking products, was,
besides “Calico Rag,” perhaps Johnson’s only other
hit.
Bill Mitchell and Jimmy Green (banjo) pounded out five Jelly Roll
Morton tunes: “Grandpa’s Spells”; “Frog-I-More”
rag; a slow, bluesy medley of Morton’s “Buddy Bolden’s
Blues” and “Winin’ Boy”; and “The Pearls.”
They closed their set with Joplin’s 1908 classic, the “Pine
Apple Rag.” Jimmy’s amazing banjoistics added considerably
to each of these great pieces.
Eric kept Jimmy on stage just long enough for the duo to perform Joplin’s
earlier hit, “Maple Leaf Rag.” Frank Sano then gave us
a nice piano rendition of “Hello! Ma Baby.” Returning
to Joplin, Eric gave us the rarely performed “A Breeze from
Alabama” from 1902, noting that the entire piece is built upon
the concept of modulating to the flatted sixth of whatever key the
piece is in at that point. Finally, Eric took the bass and Shirley
the treble for four-handed arrangements of Adaline Shepherd’s
1906 hit “Pickles and Peppers” and Charlotte Blake’s
1908 rag “That Poker Rag.”
John Pool encored with a terrific rendering of Mayerl’s wonderful
“Hollyhock.” This complex Novelty is fun to hear and to
watch, and John’s playing was clean and rock-steady. Vincent
Johnson brought us yet two more vintage Novelties: Schutt’s
“Piano Puzzle” and Confrey’s “Poor Buttermilk.”
“Puzzle” implies a tango rhythm in its first section and
has a tricky second theme; “Buttermilk’s” second
theme is searing, with complex cross-rhythms and its trio offers a
sort of tango-style bass. Vincent added the newly rediscovered D theme,
though the piece concludes with the flag-waving C.
Andrew wound up the afternoon with two more pieces by Charlotte Blake,
whom he said lived in Santa Monica while working for Douglas Aircraft
and later as a retireein Southern California, a fact apparently unknown
to local ragtimers during that time (the 1960s and ’70s). Blake’s
“Missouri Mule March” isn’t ragtime, but it’s
a delightful piece, with a minor-key A theme, soft trio and raggy
finale. Andrew gave a nicely steady approach and soft, gentle aura
to “Wish Bone,” a terrific Blake rag.
Andrew closed out the afternoon with Calvin Woolsey’s 1909 rag
“Funny Bones” – the first time the piece has ever
been performed at an OCRS and most certainly the first of any of the
many fine rags by the “ragtime doctor” who wrote “Peroxide
Rag,” “Medic Rag,” “Poison Rag” and
“Mashed Potatoes” and who often referred to himself as
“Dr. Funny Bones.” Calling the piece Woolsey’s “symphony
in ragtime,” Andrew highlighted the delicate trio and the D
theme’s circle-of-fifths, giving the final reprise of D a wonderfully
showy performance.
While we featured just over three-dozen selections (far fewer than
our usual 42+), all were outstanding. We’ll see everyone at
Mo’s Fullerton Music in mid-August (Aug. 21), when OCRS hosts
its first Ice Cream Social! Please be prepared to spend a few bucks
on ice cream to help support our upcoming RagFest, and please invite
all your friends to come by and enjoy some tasty musical and sweet
dairy treats! (We will also have canned sodas and snacks for those
who wish to skip the ice cream!)