Archive for Ragtime

The Versatile Four

Posted in History, Jazz with tags , , , , , on July 14, 2017 by telescoper

I’ve posted a few examples of Jazz drummers recently, so I thought you might be interested in this, a rare recording of performance from the (pre-Jazz) Ragtime era that provides a good example of where  Jazz drumming came from. This track was recorded in London way back in 1916 and it’s remarkable for the clarity with which you can hear the drums, which in those days usually proved very difficult to capture.  The tune, Down Home Rag (written by Wilbur C. Sweatman) was a big hit at the time and remains in the traditional jazz repertoire to this day. It’s played by The Versatile Four an almost legendary ragtime band that I know very little about other than the personnel: Tony Tuck (banjo; born 1879 Virginia); Charles W. Mills (piano; born 1883 Illinois); Gus Haston (banjo, vocals; born 1880 Missouri); and  Charlie Johnson (drums; born 1885 Kentucky). I’m not sure who it is who blows the whistle, but it may well be the drummer.

Charlie Johnson’s playing of the drums may sound very old-fashioned and a bit staff to ears accustomed to the swinging style of the jazz era, and he no doubt used a very crude kit, but this recording shows what an absolutely superb musician he was. You can also clearly hear the influence of the sort of drum patterns used by military marching bands. As well being an interesting piece from the point of view of music history, the drummer suffuses this high-energy performance with a sense of knockabout fun that is guaranteed to bring a smile to even the most crabbed face!



Stravinsky, Dutilleux and Beethoven at RWCMD

Posted in Music with tags , , , , , , , on June 30, 2012 by telescoper

I’m a bit ashamed to admit that, although I’ve lived in Cardiff for almost five years now, last night was the first time I’ve ever been inside the Royal Welsh College of Music and Drama, which is situated by the side of Bute Park. The occasion that took me there was a concert in the fine Dora Stoutzker Hall by the Orchestra of Welsh National Opera  under the baton of Lothar Koenigs. When I arrived for a quick glass of wine before the concert there was some nice jazz playing in the lobby which made me which I’d got there sooner, but that wouldn’t have been possible because there was a leaving do had to attend beforehand. I didn’t catch the names of the musicians but I guess they were students from the College.

Anyway, the first half of the programme for the evening consisted of a short piece called Ragtime by Igor Stravinsky and a longer suite called Mystère de l’instant by Henri Dutilleux. The first item was played by a small subset of the Orchestra and involved only 11 instruments, including a cymbalom. Written around 1918, Ragtime is Stravinsky’s personal reaction to his experience of American popular music. It’s a quirky and entertaining piece, clearly influenced by ragtime and jazz, especially in Stravinsky’s deployment of  lots of interesting rhythmic devices, whilst remaining quintessentially Stravinsky.

After a bit of reorganization of the stage a larger section of the orchestra, still including the cimbalom, returned to play the Dutilleux piece.  This was another work that was new to me. I found it absolutely gripping. It consists of a series 10 relatively short pieces played without interruption, each of which has its own distinct identity. Overall, this work put my in mind of a gallery full  abstract paintings, each having it’s own palette and texture, and the whole effect being rather cryptic and undefinable. You can actually hear a performance on Youtube here, which I heartily recommend if you’ve never heard this work in full before.

The hall at RWCMD is much smaller that at St David’s and with a seat just a few rows back from the stage I had no difficulty reading the music the violinists were playing. It’s clearly a very demanding work, pushing the limits of not only the string instruments but also the rest of orchestra. When the interval arrived I nipped to the gents for some much-needed micturition and found two of the musicians doing the same thing. I asked if the piece was as difficult to play as it looked from the music. He said “yes”…

One of the excellent things about Lothar Koenig’s choice of programme for the Orchestra of WNO is that he’s very good at choosing contrasting pieces that work very well together. After the interval we returned to a much more familiar work, the Symphony No. 4 in B flat Op. 60 by Ludwig van Beethoven. This piece is much better known than the others we heard last night but it’s worth saying a couple of things about it. The first is that Beethoven wrote it extremely quickly, over a few months in 1806. I find that pretty astonishing in itself for such a beautifully crafted piece. The other thing is that its opening – an elegaic Adagio passage – would have seemed very unconventional at the time it was written, even more so because it suddenly leaps into a jaunty Allegro for the rest of the first movement. There’s a tranquil Adagio second movement, but the rest of the symphony is filled with that sense of purposeful exuberance in which Beethoven was something of a specialist.

The 4th Symphony isn’t as well known as the 3rd and the 5th, perhaps because it’s a bit less fiery, but the full Orchestra of Welsh National Opera gave it the  vigorous and characterful performance it deserves, while the rest of the programme reminded us that classical music didn’t end with Beethoven!

And that was the end of a very enjoyable evening. Leaving the RWCMD I discovered that the gate into Bute Park was still open – the gates usually close at twilight – so I was able to take the short cut home to Pontcanna.