One thing that has always been a source of interest for me has been finding traces of syncopation on records from before 1897. With a lot of new transfers being put up on Santa Barbara's website, there have been more examples of these records. Traces of syncopation are quite common as it turns out, more so than would be immediately expected with recordings of this age. Since I started to become interested in this music and these records, hearing Rag-Time on them became an overwhelming fascination for me. We can all dig through as much of the band and orchestra rag-time as we want, but to really grasp some of the clearest examples of authentic, rather eccentric, rag-time digging in the most unexpected places yield the best material.
(the North American of "The Bell Buoy" by J. W. Myers, c.1893, from UC Santa Barbara)
Fishing is the right word it seems for this search for syncopation. This is because it's a hit or miss situation, though it's bound to happen sometimes. Recently, I went back and listened to many of the earliest records from North American and Edison, out of caution for the newly revealed fact that Frank P. Banta worked for North American starting in 1892. With that in place, I have been able to recognize similar characteristics to late 1890's Banta on some of these early records. Of course I'm going out and saying that he's on all those North American records from 1892-1894, but he's likely on many of them now that we know. Much of the syncopated style that's present on some of those North American records is now likely to be Banta, rather than the well-assumed to be Issler. Of course this period of time is very hard to tell, since it's just after the point where the very detailed Edison-North American ledgers drop off. But no matter, we still have our ears to listen!
Now the most recent record that I found on my fishing trip for syncopation is one of the most outstanding examples I've ever heard. Here's the link to the record:
https://www.youtube.com/watch?v=zjch0xipuDs
So the first thing to note here, is how the piano player starts playing in the middle of the announcement. When I first heard this record I assumed that was a keen indication of Banta, since the time frame for the record would indicate a very green Banta in terms of recording experience. That made set the year to 1892 at first, according to Banta's first year in recording. But after taking a few listens and being consulted by an expert in brown wax, 1893 seems more likely as the year.
The second thing to note before I dig into the piano accompaniment is the singer. Of course it's very hard to tell who that singer is, as it's no one who was a regular in the studio around that time, though this singer is likely someone who wasn't a studio regular. The singer at points of the song actually rushes the rhythm just enough to make it almost swing. Yes, I mean it by using that. One example is at 1:28-1:29. Another good example is at 1:50-1:52. The last example is at 2:42-2:45. This may seem too slight to pick out but it's definitely noticeable, and significant enough to note. This sort of swing is pretty much exactly what Charles Asbury did on his records naturally. Just to hear the comparison, here's a great example by Asbury from 1895:
https://drive.google.com/file/d/16UwDuQli9LJ36hsiyAV5yTXXUF4js5IT/view?usp=sharing
All-right, now for the real reason I am still getting over my astonishment of this record, the piano accompaniment. Other than the weirdness at the very beginning in the announcement and the completely broken intro, the accompaniment is particularly interesting. There are plenty of very audible mistakes, which is fine, but part of the reason I think the pianist is a very young and green Banta. It's very nice to be able to hear all the low notes in the accompaniment, which adds a level of charm that is hard to describe. The first solo the pianist plays isn't too special, rather typical of accompaniment of that time, but the second solo is where it's at.
That solo at 2:00 is absolutely shocking to hear. And here's why...
It may not be very syncopated, but it emulates those primitive march-rag-negro dances of the early and mid 1890's, with the first part of the solo sounding like a late-1890's rag pattern(even though it's technically looser a variation on the accompaniment done throughout the record). But what exactly does it sound like? Well I'll tell you, this is what:
https://www.youtube.com/watch?v=O_dI6BZt06U
It absolutely astounded me to hear such similarity, despite there being little syncopation, it's a much whiter take on the style that Scott Joplin and other early black rag pianists would have been playing as early as 1893(as according to Will Marion Cook!). The basic structure of the solo is similar to the infectious themes of Joplin's earliest rag compilations.
And keep in mind that this record is from around 1893!
So with all that being said, I do not want you to think that I am certain the pianist is Banta, but one thing is for sure, that pianist is way too sloppy and eccentric to be Edward Issler. The pianist is very similar to Banta, as the style on this record is likely how a young and still musically forming Banta likely sounded. By 1897-1898, even as early as 1896 we can hear Banta having the same basic style as this 1893 record, but more refined and less sporadic.
This record led me to thinking of and going back to listening to those records I have known for having syncopation on them. Another example(in fact one of the most overt ones I've heard), is Spencer's 1893-94 or so record of "Mamie Come Kiss your Honey Boy".
(Spencer c.1888).
This Spencer record has been a source of reference for me when looking for authentic syncopation on records before 1897. here's a link to the record just for reference:
https://drive.google.com/file/d/0By7WuiOUrg7YSVN3QVBpZU4yUFRTLWVRYnZJZEdnanQtdW9B/view?usp=sharing
The smoothness of Spencer's syncopation is really something. All the syncopation on this record is solely done by Spencer, not the pianist. Though when fishing for syncopation on these records the vocalist is just as important as the accompaniment. What's particularly noteworthy about Spencer's singing on this is that he throws in two different kinds of syncopation, unlike using a single type and sprinkling it in one or maybe measures. We get the typical schottische syncopation at the beginning of each verse, but then we get little bits of the same swing that's all over Asbury's record throughout to make things interesting.
The Spencer example has that more typical syncopation that's all over Schottisches of the 1850's-1890's, and in case you're unsure what exactly this rhythm is, you can hear it played several times on this 1894 Issler record:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder17058
While that type of rhythm was common, the typical cake-walk syncopation we know of wasn't either!
On this 1894-ish Issler record the overt cake-walk syncopation is played by the entire orchestra, which is nice to hear it emphasized so clearly:
https://drive.google.com/file/d/1M77MA15X0lC02G4Qhy-PhYWtQ1_ZGz3K/view?usp=sharing
On the above Issler record, we can hear both types, but the cake-walk syncopation adds a level of interest to keep me listening, and of course I still haven't heard an Issler's orchestra record I don't like...
With Issler we already know that he was fully capable of playing smooth syncopation as early as 1889, so to hear him play both types so early with his orchestra, and likely as accompaniment, doesn't come as a surprise. But of course every example is one to note, add to the pile to use for proof later.
Someone like Banta I would already assume to be playing syncopation of all types as early as 1893, because of his spotty musical upbringing, as well as his busy times working with Ossman. Banta was part of the generation that really boosted rag-time into white society, so I wouldn't put it past him to be playing such rhythms so early.
When doing this fishing, sometimes things are a miss, records you would assume to be very interesting and have a fair amount if syncopation don't end up living to the expectations. Anything by George W. Johnson is a perfect example of this. Not every version of his four songs is as promising as his late-1890's Columbia's with Fred Hylands. His 1894-ish version of "The Laughing Song" that Santa Barbara put up recently is a great example of this.
Here's that record:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder17216
(it's rather messy, beware!)
This record should have bits of syncopation on it, but it's got the closest thing to it. Despite the absence of overt syncopation, the accompaniment is still very interesting, and rather eccentric. This record, just by the circumstances is likely another early Banta record. Though I would not really say the accompaniment is perfectly like Banta's style, the year in conjunction with the song's arranger(Banta!) would lead me to think it's him on piano, but do not quote me on that.
When we get to 1896-97, the kind of syncopation that we hear in accompaniments is much different. This is when we get to the more familiar "rag" style. But as I've done previous posts on before, 1897 is still one of the most difficult years for pianist identification. The more 1897 Columbia's I hear, the more I lean to a single pianist style. I still am set on the assumption that Fred Hylands started working at Columbia by mid-1897 at the least, but I'm still trying to figure out where that cutoff would be exactly. Those "new York city" Columbia's are the most frustrating for me in terms of piano accompaniment. That time of mid-1897 at Columbia was when they had a few staff changes, pianists included. With those records that Ossman made for Columbia in 1897, I would place the pianist as being Banta, as they were still performing together onstage around that time, though for someone like Billy Golden, that's a different story.
This leads me to get back to my nemesis record, Golden's 1897 Columbia of "Uncle Jefferson".
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder11728
I still consider this record one of the earliest examples of serious rag-time piano accompaniment.
For early 1897 it's rather raggy and eccentric. I am still bent on who that pianist is. Many of the characteristics sound like early Hylands, but still sound a little bit like Issler(or maybe George Schweinfest!). Now here's one thing for sure, the pianist on that "uncle Jefferson" is the same on this 1897 Columbia:
https://drive.google.com/file/d/1IqZr-mbGekuZjOWUTOvjf5q9kRcD4vc7/view?usp=sharing
Exactly the same kind of mid-bar syncopation is present here as the "Uncle Jefferson".
The "uncle Jefferson" is certainly more sporadic and eccentric, but the eccentricity is similar in different parts of the accompaniment. After listening to lots of Banta recently, it occurred to me that I may have been blinded by my assumption of Banta only working for Edison. I know it's not the same song, but it's the other George W. Johnson hit--"The Laughing Coon"; this record I listened to recently and pulled apart again proved something with this conundrum. That pianist on the 1897 "Uncle Jefferson" may be Banta! I was so set in the idea that Banta didn't cross over that I was missing key characteristics that were evident of Banta. This record here has a lot of the same characteristics as the 1897 Columbia of "the Laughing Song" in the previous link:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder15526
The main similarity here is in the smooth quick passages he plays at the end of every solo.
So again, don't quote me on this, but Banta was likely one of the sub pianists they had at Columbia in that awkward period in 1897 before Hylands came along. Without Banta however, we wouldn't get some of the best early example of overt rag-time on records, such as his 1897 take of "Turkey in the Straw" with Billy Golden:
https://archive.org/details/TurkeybyGoldenwBanta1897
It's because of Banta that we get such oddly authentic examples of early syncopation on records, including his earliest recordings from 1892-1895.
After 1897, we get all the good stuff. That's the cutoff for the more varied styles of rag-time showing up in piano accompaniments on records. Banta holds forth with the strange mix of itinerant and classically trained, whilst all the same we get Hylands and his dense, eccentric Ohio river valley/Chicago style that is like no other.
Unfortunately Hylands' recording legacy has been neglected for over 100 years. Even in the era he lived his studio work was very rarely spoken of. It almost seems like those years he spent in the studio were like a dream. It was spoken of so highly when it happened and was re-imagined, but it vanished from all existence with the person who dreamt it. But I don't need to ramble down this path again...I've spoken plenty about the tragedy of the tragedian of Fred Hylands.
Anyway...
This afternoon I listened to quite a few of those beloved Climax records, and noticed something. The pianist on those Climax records was always really nice and played dense accompaniments. For a long while I have assumed that to be Hylands, since it's so dense, complicated, and very rhythmic. Well, I listened to two versions of "a Rag-Time Skedaddle" recorded around the same time for Columbia, and Zon-O-phone, and noticed that they are the same pianist.
Yes, Zon-O-Phone AND Columbia--same pianist.
Here's the Columbia:
https://www.youtube.com/watch?v=tFRtiG6LyvY
And here's the Zon-O-Phone:
https://soundcloud.com/jack-stanley-881056448/ragtime-skedaddle-frank-mazzlotta-1902?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook
The pianist pretty much is playing exactly the same accompaniment.
Okay, so I do not know who this pianist would be. But considering that it's Zon-O-phone and Columbia we're dealing with here, I would lean toard Fred Hager more than say Justin Ring.
Fishing is the right word it seems for this search for syncopation. This is because it's a hit or miss situation, though it's bound to happen sometimes. Recently, I went back and listened to many of the earliest records from North American and Edison, out of caution for the newly revealed fact that Frank P. Banta worked for North American starting in 1892. With that in place, I have been able to recognize similar characteristics to late 1890's Banta on some of these early records. Of course I'm going out and saying that he's on all those North American records from 1892-1894, but he's likely on many of them now that we know. Much of the syncopated style that's present on some of those North American records is now likely to be Banta, rather than the well-assumed to be Issler. Of course this period of time is very hard to tell, since it's just after the point where the very detailed Edison-North American ledgers drop off. But no matter, we still have our ears to listen!
Now the most recent record that I found on my fishing trip for syncopation is one of the most outstanding examples I've ever heard. Here's the link to the record:
https://www.youtube.com/watch?v=zjch0xipuDs
So the first thing to note here, is how the piano player starts playing in the middle of the announcement. When I first heard this record I assumed that was a keen indication of Banta, since the time frame for the record would indicate a very green Banta in terms of recording experience. That made set the year to 1892 at first, according to Banta's first year in recording. But after taking a few listens and being consulted by an expert in brown wax, 1893 seems more likely as the year.
The second thing to note before I dig into the piano accompaniment is the singer. Of course it's very hard to tell who that singer is, as it's no one who was a regular in the studio around that time, though this singer is likely someone who wasn't a studio regular. The singer at points of the song actually rushes the rhythm just enough to make it almost swing. Yes, I mean it by using that. One example is at 1:28-1:29. Another good example is at 1:50-1:52. The last example is at 2:42-2:45. This may seem too slight to pick out but it's definitely noticeable, and significant enough to note. This sort of swing is pretty much exactly what Charles Asbury did on his records naturally. Just to hear the comparison, here's a great example by Asbury from 1895:
https://drive.google.com/file/d/16UwDuQli9LJ36hsiyAV5yTXXUF4js5IT/view?usp=sharing
All-right, now for the real reason I am still getting over my astonishment of this record, the piano accompaniment. Other than the weirdness at the very beginning in the announcement and the completely broken intro, the accompaniment is particularly interesting. There are plenty of very audible mistakes, which is fine, but part of the reason I think the pianist is a very young and green Banta. It's very nice to be able to hear all the low notes in the accompaniment, which adds a level of charm that is hard to describe. The first solo the pianist plays isn't too special, rather typical of accompaniment of that time, but the second solo is where it's at.
That solo at 2:00 is absolutely shocking to hear. And here's why...
It may not be very syncopated, but it emulates those primitive march-rag-negro dances of the early and mid 1890's, with the first part of the solo sounding like a late-1890's rag pattern(even though it's technically looser a variation on the accompaniment done throughout the record). But what exactly does it sound like? Well I'll tell you, this is what:
https://www.youtube.com/watch?v=O_dI6BZt06U
It absolutely astounded me to hear such similarity, despite there being little syncopation, it's a much whiter take on the style that Scott Joplin and other early black rag pianists would have been playing as early as 1893(as according to Will Marion Cook!). The basic structure of the solo is similar to the infectious themes of Joplin's earliest rag compilations.
And keep in mind that this record is from around 1893!
So with all that being said, I do not want you to think that I am certain the pianist is Banta, but one thing is for sure, that pianist is way too sloppy and eccentric to be Edward Issler. The pianist is very similar to Banta, as the style on this record is likely how a young and still musically forming Banta likely sounded. By 1897-1898, even as early as 1896 we can hear Banta having the same basic style as this 1893 record, but more refined and less sporadic.
This record led me to thinking of and going back to listening to those records I have known for having syncopation on them. Another example(in fact one of the most overt ones I've heard), is Spencer's 1893-94 or so record of "Mamie Come Kiss your Honey Boy".
(Spencer c.1888).
This Spencer record has been a source of reference for me when looking for authentic syncopation on records before 1897. here's a link to the record just for reference:
https://drive.google.com/file/d/0By7WuiOUrg7YSVN3QVBpZU4yUFRTLWVRYnZJZEdnanQtdW9B/view?usp=sharing
The smoothness of Spencer's syncopation is really something. All the syncopation on this record is solely done by Spencer, not the pianist. Though when fishing for syncopation on these records the vocalist is just as important as the accompaniment. What's particularly noteworthy about Spencer's singing on this is that he throws in two different kinds of syncopation, unlike using a single type and sprinkling it in one or maybe measures. We get the typical schottische syncopation at the beginning of each verse, but then we get little bits of the same swing that's all over Asbury's record throughout to make things interesting.
The Spencer example has that more typical syncopation that's all over Schottisches of the 1850's-1890's, and in case you're unsure what exactly this rhythm is, you can hear it played several times on this 1894 Issler record:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder17058
While that type of rhythm was common, the typical cake-walk syncopation we know of wasn't either!
On this 1894-ish Issler record the overt cake-walk syncopation is played by the entire orchestra, which is nice to hear it emphasized so clearly:
https://drive.google.com/file/d/1M77MA15X0lC02G4Qhy-PhYWtQ1_ZGz3K/view?usp=sharing
On the above Issler record, we can hear both types, but the cake-walk syncopation adds a level of interest to keep me listening, and of course I still haven't heard an Issler's orchestra record I don't like...
With Issler we already know that he was fully capable of playing smooth syncopation as early as 1889, so to hear him play both types so early with his orchestra, and likely as accompaniment, doesn't come as a surprise. But of course every example is one to note, add to the pile to use for proof later.
Someone like Banta I would already assume to be playing syncopation of all types as early as 1893, because of his spotty musical upbringing, as well as his busy times working with Ossman. Banta was part of the generation that really boosted rag-time into white society, so I wouldn't put it past him to be playing such rhythms so early.
When doing this fishing, sometimes things are a miss, records you would assume to be very interesting and have a fair amount if syncopation don't end up living to the expectations. Anything by George W. Johnson is a perfect example of this. Not every version of his four songs is as promising as his late-1890's Columbia's with Fred Hylands. His 1894-ish version of "The Laughing Song" that Santa Barbara put up recently is a great example of this.
Here's that record:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder17216
(it's rather messy, beware!)
This record should have bits of syncopation on it, but it's got the closest thing to it. Despite the absence of overt syncopation, the accompaniment is still very interesting, and rather eccentric. This record, just by the circumstances is likely another early Banta record. Though I would not really say the accompaniment is perfectly like Banta's style, the year in conjunction with the song's arranger(Banta!) would lead me to think it's him on piano, but do not quote me on that.
When we get to 1896-97, the kind of syncopation that we hear in accompaniments is much different. This is when we get to the more familiar "rag" style. But as I've done previous posts on before, 1897 is still one of the most difficult years for pianist identification. The more 1897 Columbia's I hear, the more I lean to a single pianist style. I still am set on the assumption that Fred Hylands started working at Columbia by mid-1897 at the least, but I'm still trying to figure out where that cutoff would be exactly. Those "new York city" Columbia's are the most frustrating for me in terms of piano accompaniment. That time of mid-1897 at Columbia was when they had a few staff changes, pianists included. With those records that Ossman made for Columbia in 1897, I would place the pianist as being Banta, as they were still performing together onstage around that time, though for someone like Billy Golden, that's a different story.
This leads me to get back to my nemesis record, Golden's 1897 Columbia of "Uncle Jefferson".
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder11728
I still consider this record one of the earliest examples of serious rag-time piano accompaniment.
For early 1897 it's rather raggy and eccentric. I am still bent on who that pianist is. Many of the characteristics sound like early Hylands, but still sound a little bit like Issler(or maybe George Schweinfest!). Now here's one thing for sure, the pianist on that "uncle Jefferson" is the same on this 1897 Columbia:
https://drive.google.com/file/d/1IqZr-mbGekuZjOWUTOvjf5q9kRcD4vc7/view?usp=sharing
Exactly the same kind of mid-bar syncopation is present here as the "Uncle Jefferson".
The "uncle Jefferson" is certainly more sporadic and eccentric, but the eccentricity is similar in different parts of the accompaniment. After listening to lots of Banta recently, it occurred to me that I may have been blinded by my assumption of Banta only working for Edison. I know it's not the same song, but it's the other George W. Johnson hit--"The Laughing Coon"; this record I listened to recently and pulled apart again proved something with this conundrum. That pianist on the 1897 "Uncle Jefferson" may be Banta! I was so set in the idea that Banta didn't cross over that I was missing key characteristics that were evident of Banta. This record here has a lot of the same characteristics as the 1897 Columbia of "the Laughing Song" in the previous link:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder15526
The main similarity here is in the smooth quick passages he plays at the end of every solo.
So again, don't quote me on this, but Banta was likely one of the sub pianists they had at Columbia in that awkward period in 1897 before Hylands came along. Without Banta however, we wouldn't get some of the best early example of overt rag-time on records, such as his 1897 take of "Turkey in the Straw" with Billy Golden:
https://archive.org/details/TurkeybyGoldenwBanta1897
It's because of Banta that we get such oddly authentic examples of early syncopation on records, including his earliest recordings from 1892-1895.
After 1897, we get all the good stuff. That's the cutoff for the more varied styles of rag-time showing up in piano accompaniments on records. Banta holds forth with the strange mix of itinerant and classically trained, whilst all the same we get Hylands and his dense, eccentric Ohio river valley/Chicago style that is like no other.
Unfortunately Hylands' recording legacy has been neglected for over 100 years. Even in the era he lived his studio work was very rarely spoken of. It almost seems like those years he spent in the studio were like a dream. It was spoken of so highly when it happened and was re-imagined, but it vanished from all existence with the person who dreamt it. But I don't need to ramble down this path again...I've spoken plenty about the tragedy of the tragedian of Fred Hylands.
Anyway...
This afternoon I listened to quite a few of those beloved Climax records, and noticed something. The pianist on those Climax records was always really nice and played dense accompaniments. For a long while I have assumed that to be Hylands, since it's so dense, complicated, and very rhythmic. Well, I listened to two versions of "a Rag-Time Skedaddle" recorded around the same time for Columbia, and Zon-O-phone, and noticed that they are the same pianist.
Yes, Zon-O-Phone AND Columbia--same pianist.
Here's the Columbia:
https://www.youtube.com/watch?v=tFRtiG6LyvY
And here's the Zon-O-Phone:
https://soundcloud.com/jack-stanley-881056448/ragtime-skedaddle-frank-mazzlotta-1902?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook
The pianist pretty much is playing exactly the same accompaniment.
Okay, so I do not know who this pianist would be. But considering that it's Zon-O-phone and Columbia we're dealing with here, I would lean toard Fred Hager more than say Justin Ring.
The reason I lean more toward Hager is because he had come kind of connections at Columbia as early as 1901, playing violin for them and all.
With Justin Ring I wouldn't know.
To further this unusual connection between Columbia-Climax-Zonophone, I listened to even more Climax records and Zon-O-Phone's back to back and noticed the same exact piano style on both.
I listened to this one here:
back to back with a 1901 Zon-O-phone of John Terrell singing "Whistling Rufus", and they had the same rough an dense characteristics that give the Climax in the link above its charm. The most interesting thing is of course the whistling chorus at the end, with all sorts of interesting dense chords and bass note rhythm.
A good comparison is another John Terrell record from around the same time as the Climax above:
The overall touch and characteristics are the same. Also, if you've heard many Zon-O-Phone's from around this time you'll recognize that dense piano accompaniment that always has chords that have lots of notes. Luckily the quality of those records caught all those essential notes.
So, it seems that now when we come across a Columbia in a period of time where we know Hylands wasn't in New York, we can assume that pianist to be one of those strange Zon-O-Phone pianists. Now here's the thing about that pianists' style, it sounds a lot like Hylands' style, but it's most certainly not. Justin Ring wasn't extracted from a mid-western background, so I wouldn't expect him to sound similar to Hylands, however, Hager would. Hager had basically the same upbringing as Hylands, with his father even having the same occupation as Hylands(locomotive engineer), and starting to play music around the same time. Also, Hager was from far enough west to have a style similar to Hylands, when thinking in terms of regional piano(rag) styles. Hager was from rural Pennsylvania, which technically should yield a similar style to the neighboring state(Ohio), which is where Hylands' style was developed.
Even the slightest characteristics like how (the pianist) plays the melody on this Climax record at 1:00 in is significant:
It's slightly exaggerated and almost syncopated. That's very much like the Indiana/Ohio river valley style of Hylands, but that pianist for Climax is definitely not Hylands.
I should quit it here, I've written much more than I thought on these matters for this post.
Hope you enjoyed this!
Thank you for a very interesting writeup of early piano playing related to early rag. My favorite of all the pianists is Fred Hylands.
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