Vess Ossman was a vain and picky banjoist.
So to satisfy these nitpicky ways, he had to have a perfect pianist behind him. But unfortunately for him, all the pianists that were thrown his way were fantastic Ragtimers who had the spirit in their hands, and in their blood. So the first real pianist he had was a stalwart one, Frank P. Banta.
Banta was a very devoted pianist to Ossman, as he traveled around with him wherever he went. And all the vaudeville houses loved the duo, as they were like two peas in a pod when they put music together. Banta had the perfect Ragtime style that Ossman wanted, as he wasn't too loud, and no mistakes were ever made in Banta's playing. He was a flawless pianist, good looking, slim as a stick, short in height--well, he was a rather sickly and weak looking character to behold, but he could play Ragtime with non-pareiled grace and ease. Their success as a duo was very clear, as many advertisements were shown in stage newspapers even as early as 1894:
(I first saw this ad in a booking agent's catalog from 1894 from a friend of mine's collection.)
The success went on very well for a few years until late 1896.
In late 1896, Banta was taken in to become the Edison phonograph company's house pianist. This was a good way to get Vess into recording more for Edison, but the thought did not become a normal thing. Ossman had recently become a Columbia artist, and not long after he did that, he(along with twenty or so more) signed a contract with Columbia to become an exclusive artist there. That officially ended the long-standing success of "Ossman and Banta".
So, in becoming one of Columbia's newest exclusive artists, Vess encountered the lumbering Indiana boy Frederic Hylands.
Vess must have been a little intimidated of the heavy-weight at first, but he quickly learned of Fred's winning ways. Fred just seemed like the perfect stage and recording partner for Vess, even if he was in complete contrast to Banta, both physically and musically. Vess gladly accepted to go on tours and do shows with the still new and hot-handed pianist of Columbia's phonograph. This then started a new partnership between the two, which not only can be heard on Columbia cylinders, but in the music that Hylands decided to publish.
"Dedicated to Vess L. Ossman--America's greatest Banjoist"
Makes sense. They were officially vaudeville partners by the time this was published(December, 1898). But oddly enough, Hylands was said to have compiled this piece as early as August of 1898, so he recorded it with Ossman, and the Columbia house band before it was published. As some things were not yet settled on how they would be written down-- it's in the music itself.
Ossman became very fond of Hylands, and really did seem to enjoy performing with him(as everyone who did seemed to anyway), and it was far off from when Banta followed him around just two years before. But of course, Ossman came into the Edison studio occasionally, and there sat Banta at the piano. It was still a wonder to hear Ossman and Banta on those Edsion cylinders, but Banta was slightly changed from playing accompaniment for so many people who wanted different things from his playing. Ossman still admired Banta's Ragtime, but by 1899, it was clear that he found more of a spark in Hylands' playing.
So from here on, it was always a tough decision between Banta or Hylands with Ossman.
It was always hard for him to choose, because they were both good at the same sort of things, but when he had to choose, what was at stake was the feel and moodiness of the playing. He still had a special place in his heart for Banta's light and jumpy playing, but the heavy-handed and rough style of Hylands really took him in a whirl.
Vess had gone to the orchestra and trio accompaniment by Banta's death in 1903, and completely ended the piano accompaniment by 1904, upon the kicking out of Fred. Hylands at Columbia in late -1904. Vess was no longer one of the 1890's phonograph boys by 1905. But his piano boys always were.
I hope you enjoyed this!
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