When Our Brown Skin' Soldier Boys Come Home From War

Sheet music cover for a 1919 Porter Grainger song

This is the oldest sheet music by Porter Grainger that I have found. Dated 1919, Grainger would have been about twenty-seven. It is a patriotic song of soldiers returning home after World War I.

Let's go down to the station, people,
Our boys come home today
With great honors won in a grand and noble fray.
Do join us,
There'll be great politicians waiting,
Taxis all in a row.
See Old Glory!
Waving as down the streets they go.

In an era that gave rise to such patriotic favourites as "It's a Long Way to Tipperary," "Over There," "Oh, How I Hate to Get Up in the Morning," and "When the Boys Come Home," there cannot have been many that celebrated the contributions of black soldiers to the WWI United States war effort. (The armed forces did not integrate until 1944, twenty-five years later.) And considering that this was still a year away from the first black blues recording, it is probably a wonder that the sheet music was published at all - that is, music companies were not yet convinced of the financial viability of marketing to an African-American population.

Kudos to Porter Grainger - one gets the feeling that he was not taking the easy route with this song.


(If you are interested in the sheet music, you can find it here)

I Went Down To SJI - in New Orleans

Photograph by Michael Ward-Bergeman

Michael Ward-Bergeman recently sent me a photograph of "I Went Down To St. James Infirmary" situated proudly on a display table in the store "Forever New Orleans." This is the only store in New Orleans in which this book can be found. I think it looks at home.

Last of the orchestral sheet music: trombone, violin, and bass

A reader recently asked about the trombone parts for the 1929 orchestra score that appears elsewhere on this blog. I had obviously lost track of which sections I had already included, thinking I had posted them all. But, no, I had omitted the trombone, the violin, and the bass parts. So this should do it. Piano. Trumpet. Saxophone. Banjo. Drums. And now, trombone, violin, and bass.

Trombone

Violin

Bass

St. James Infirmary Soap???? Yessirree.

Michael Ward-Bergeman, a well-known musician living in New Orleans, surprised me with a bar of St. James Infirmary soap.  It arrived in the mail this morning. SJI soap? Really? "Yes," I was assured, "really." With reviews such as, "What a great soap!" and "Saved me from psoriasis," the soap is made in New Orleans. The owner of Sweet Olive Soap Works relates that she was born in "the aftermath of the great flood of '78 and was brought home in a canoe on the still-flooded streets of New Orleans." Her grandmother, Anna Mae, had been a soapmaker.

I am going to keep this bar on my bookshelf.

This is a sweet way to start 2014. Happy New Year! And thanks, Michael.

Minstrel advertisements - Hi-Brown Bobby Burns

Advertising blotter for Minstrel producer Hi-Brown Bobby Burns

I found myself recalling that there is evidence that Blackface Minstrels performed "St. James Infirmary" in the years before the song was first recorded in 1928. And then I remembered that I own a number of the advertising items pictured above. These are blotters, from the days when people wrote with fountain pens and needed to blot up the wet ink from time to time. I used to use blotters like these. Even when ball-point pens had become popular, teachers felt we had to learn how to write with "proper" pens. Because I am left-handed, my hand would smear the ink across the page as it followed my pen. Teachers did not like that. So, I would place a blotter over what I had just written, and rest my hand upon it. Blotters were very handy. It was a clever gimmick, handing them out as advertisements.

Postcard for Hi-Brown Bobby Burns

Those blotters are probably from the 1920s, when minstrelsy was being absorbed into and supplanted by vaudeville. They measure about 3.5" by 6". Here, Burns shows his "real" face, and his clown face (our modern-day clowns are really just minstrels in whiteface). "Hi-Brown" Bobby Burns was a minor producer of minstrel shows, and occasionally his name shows up on minstrel or circus advertising even into the 1940s. Judging from the evidence, it seems that Burns, like Emmett Miller, was very late in leaving the profession.

Business card "The Last of the Red Hot Minstrels"

Thoughts while reading Teachout's new biography of Duke Ellington

At the recommendation of a friend I recently purchased a new biography of Duke Ellington. Written by Terry Teachout, the book was released a couple of months ago. I was surprised to find, while perusing the "Select Bibliography," my own book, I Went Down to St. James Infirmary, listed. In all humility I have to mention that this was one of close to two hundred books that Teachout listed. But he did write this: "No biography of (Irving) Mills has been written. The best short treatment of his life and work is in Harwood (I Went Down to St. James Infirmary)." Irving Mills, of course, was central to the early career of Duke Ellington, as he was for Cab Calloway and other black musicians of the era.

It is a shame that there is no detailed biography of Mills. Information about him comes in dribs and drabs; what is unearthed often requires considerable effort. And, of course, the longer we wait, the more difficult it will be to write accurately or honestly about the man. A surprising amount of what we do find takes the form of critical opinion, rather than biographical fact, and that opinion is often scathing.

Let me try to explain. Irving Mills was intimately involved in the popularization of what the world thinks of as "American music" - music that arose out of the black culture of the 1920s and 1930s (as well as popular standards from the pens of white tunesmiths). He was foremost a businessman, though, and one who saw opportunity where others - because of the intense prejudices of the time - saw nothing. With the black artists he represented, Mills would take up to 50% of their earnings, rather than the 10% or 15% common between managers and white artists. But in return Mills worked hard. He made Ellington (for instance) into a star, and that could never have happened without a white manager; it might be surprising that it could have happened at all. In other words, Mills charged a lot for his services, but he did not take the money and run, and every indication suggests that he treated his clients with respect. Much of the criticism leveled at Mills is based upon contemporary notions of fairness and racial equality. From the perspective of nearly a century ago, things take on a different sheen.

If you're interested in Duke Ellington, this is a good book to read. Teachout takes an even-handed approach with Mills, and that is refreshing.

A side-light here: none of the three Ellington biographies I have read make any mention of "St. James Infirmary." This even though his band recorded it twice in 1930 - as The Ten Blackberries (with Mills assuming lead vocals under the pseudonym Sunny Smith), and again as The Harlem Hot Chocolates. But, really, it's not surprising. SJI is little more than a small footnote in the history of a man responsible for such standards as "Sophisticated Lady," "Black and Tan Fantasy," "Mood Indigo" and seemingly countless other significant compositions.

From the hand of the puppeteer: Blair Thomas on St. James Infirmary

Photo from a recent performance of Blair Thomas' puppet show "Moby Dick."
Contrast the style of these puppets with the ones shown in the previous post.

In the previous post I wrote about master puppeteer Blair Thomas, and his show based upon "St. James Infirmary." I wrote to Mr. Thomas, asking "what was it about the song that attracted you sufficiently to create a puppet show around it?" He was kind enough to respond:

"I'm a puppeteer. I make solo shows such as this one, as well as larger shows where I act as the designer/director. I've known the song "St. James Infirmary" for about 20 years. I worked on developing a puppet show based on the song for a long time, and produced this version in 2009. "St. James Infirmary" has a great untold story lurking in between its few short verses. My interpretation of the song uses the visual medium of the single rolling paper scroll and a few puppets. The scroll is motorized so I can run around and do other things. I use a digital loop station to record the music live - usually while the scroll rolls and then it can loop while I use the marionettes and sing the song. I really enjoy playing the music on this - the scroll works well over the music.

"For this show I use wooden rod marionettes - a style of puppetry that is more folk in its origin than the customary string marionette. In a rod marionette the puppet is held up with a single rod to the hand-control, and then just a few strings to move its arms and legs. The result is a more primitive performance style - a rawness that goes well with the song. There is an intimate relationship between puppetry and death, and I see this song as a form of mourning or grief at the loss of a loved one.
"Denial has famously been called a stage in the grieving process. What happens with carnal desire when the body of the one you so desired is now rotting in the ground? Repulsion probably, but I would also imagine emotional incomprehension; where has it gone? A practice for Buddhist monks seeking to free themselves from carnal desire was to meditate in the charnel grounds, where bodies of the dead were decomposing. I am also playing off the New Orleans tradition of the brass band funeral march, mixed in with a heavy dose of sadness and grief."

(For more on Blair Thomas, see here and here.)

SJI as a puppet show!

Imagine attending a concert in which a "master puppeteer" presents three shows in an evening. One, based upon a script by Federico Garcia Lorca, one based upon a poem by Wallace Stevens, and one based upon the song "St. James Infirmary." The latter featuring string-marionettes, a hand-painted scrolling backdrop, and a puppeteer who manipulates his characters while belting out the song as a one-man band.

You can find out more about Blair Thomas at his web site: http://www.blairthomas.org/ The photos I have included here to illustrate this post might be misleading - Thomas performs with puppets of many forms and sizes (some as large as the people animating them).

Look into it. This is fascinating!

(For more on Blair Thomas see here and here)

A cappella SJI: performance video

A couple of months ago, I posted an article about, and a link to, sheet music for an a cappella version of SJI. The composer, Everett Howe, with the JUUL Tones, recently performed this at a church in San Diego. So, first we had the sheet music, now an actual performance (clicking here will take you directly to the video on YouTube; the embedded version below is unfortunately truncated). Enjoy!

Porter Grainger: Sheet Music

Some time back I posted both an MP3 and the lyrics to a 1927 Porter Grainger song called "Song From a Cotton Field." You can see those postings here. The MP3 features Grainger as both pianist and vocalist.

A couple of months ago the sheet music for a number of Grainger songs came up for sale. I could only afford to bid for one of them, and this is it.

There are a few things about the cover that catch my attention. First, of course, is the photograph of the performers. "The Record Boys" (good luck trying to find them in any music database today) are dressed in tuxedos, looking very sophisticated, in order to represent a song with lyrics like:

All my life I've been makin' it
All my life white folks takin' it
This old heart they jus' breakin' it
Ain't got a thing to show for what I've done done

(Of course, in those days publishers would design these covers with an empty frame where the photograph of a performer could be inserted before reprinting the music sheets. It could very well have been another performer of the song, Bessie Brown, who was pictured there. What I mean is, the photograph of The Record Boys was probably their standard publicity photo, and was not chosen with the theme of the particular song in mind. Even so, I still find the contrast jarring.)

The second is the subtitle. "A Southern Classic." There was nothing classic about this song. It was written by Porter Grainger not long before this sheet music was released. But its lyric hearkens back to the cotton fields, and I guess the publishers felt this was a good marketing ploy. I doubt Grainger would have objected; he wrote songs in order to make a living.

And then there is the publisher's stamp at the bottom of the page. None other than Gotham Music Service - the publishing arm of Mills Music, of which Irving Mills was vice-president; his brother Jack was president. (For those new to this subject, Irving Mills was Joe Primrose, the fictional - in more than one way - composer of "St. James Infirmary.")

So, back in 1927 Mills was actually publishing the music of Porter Grainger. This is the same Porter Grainger who, at about this time, wrote "Dyin' Crapshooter's Blues," which was long considered a Blind Willie McTell composition and a tribute of sorts to "St. James Infirmary," but which was not written by McTell and was recorded before "St. James Infirmary."

The images here should enlarge if you click on them. Pay attention to the small advertisements on the bottom of the pages - which are kind of like intrusive Internet ads. For instance one of them features songwriter Rube Bloom, who had a hit for Mills with "Soliloquy" and who was one of the many who recorded SJI under the Mills umbrella in 1930.

American roots music in Belgium: The Golden Glows

The Golden Glows (image from their website)

A few months ago I was doing some research on the song "Willie The Weeper." In my most-recent-entry-but-one you can read how "Willie The Weeper" became "Minnie The Moocher" which retained the instrumentation of "St. James Infirmary" while becoming Cab Calloway's signature song at The Cotton Club, and how parts of "Minnie The Moocher" have sometimes become embedded into renditions of "St. James Infirmary." Anyway, while doing this research I stumbled upon a contemporary version of "Willie The Weeper" on YouTube by a Belgian trio called "The Golden Glows." Consisting of two female vocalists and a male vocalist/guitarist, the Golden Glows lean heavily on vocal harmony, and this has been their mainstay through successive CD releases. They do it well. One of their members, Bram Van Moorhem, recently suggested that if I listen to their three CDs in succession, I shall be able to detect an evolution in their musicianship and sound. I did so, and discovered a second connection between The Golden Glows and "St. James Infirmary."

"Willie The Weeper" is from their first CD, titled A Songbook From The 20s. Their most recent CD, A Prison Songbook, is a tribute to the prison songs collected by Alan Lomax at Parchman Farm (aka Mississippi State Penitentiary) in Sugar Land, Texas in 1947. (The Golden Glows call these Lomax collections "the holiest of holies," and their treatment is both innovative and reverent.) It was 13 years earlier that Alan and his father, John, recorded James "Iron Head" Baker singing "St. James Hospital" - a song that Alan himself recorded and, through some reasoning that I would describe as weird, declared it to be the link between "The Unfortunate Rake" and "Streets of Laredo" and "St. James Infirmary."

In a way, that's beside the point. I can only describe The Golden Glows most recent CD, A Prison Songbook, as a remarkable accomplishment. These songs, while sparsely orchestrated, emphasize - in fine European style - the melodic underpinnings of these songs while incorporating a strong percussive drive that represents the pounding of spades and hoes on the hard ground that the prisoners had to work, without respite, day after day, year after year. While I am fond of all their re-creations I think this, A Prison Songbook, is a wonderful achievement. You can see some videos of their work by clicking here.

A cappella SJI: sheet music from Everett Howe

From E. Howe's a cappella version of SJI
(Click to enlarge)

Many years ago I worked with a woman whose son was a math prodigy. When he was in grade school he and a friend would spend recess (for example) determining the height of a pole by calculations based upon the length of its shadow. This is what they preferred to do, what they enjoyed doing, while other kids played baseball or tag. One year he wanted to go to summer camp, to math camp. The questionnaire he had to fill out asked the question "What musical instrument do you play?" Note, the question was not "Do you play a musical instrument?" but "Which instrument do you play?" Which, of course, suggests an intimate correlation between mathematics and music.

Still, there are many mathematicians who are not particularly interested in music. There are those who are interested only in the mathematical problems presented by music, not in the music itself. And there are those who are both born mathematicians and natural musicians.

Which brings me to Everett Howe. Mr. Howe is a mathematician, a graduate of Caltech and of the University of California in Berkeley, who has written papers with titles like, oh, "Characteristic Polynomials of Automorphisms of Hyperelliptic Curves," or "On the Distribution of Frobenius Eigenvalues of Principally-polarized Abelian Varieties." He plays the piano. He is starting to learn clarinet. He sings in an a cappella group. He writes music.

"St. James Infirmary" has been a touchstone for Mr. Howe. He wrote, "My interest in 'St. James Infirmary' led me to arrange a choral a cappella version of the song . . . and, surprisingly enough, the a cappella group that I belong to will be singing this arrangement in October as part of a church service."

Mr. Everett Howe has been kind enough to share the link to his 2013 arrangement of this song, which was first recorded 86 years ago, which is Lord-knows-how-old, and which continues to shift and change well into the 21st century. So, to read the sheet music, here is the link to: Everett Howe's a cappella arrangement of St. James Infirmary. Thank you, Everett.

Minnie the Moocher: the "controversy" over the Hi-De-Hos

I have a few posts waiting in the wings, so you will be seeing them in close succession. I have chosen this one as the first of these because it refers to the previous post, about a rambunctious, startling, and thoroughly captivating modern New Orleans version of SJI. In that post I wrote that this version by the New Creations Brass Band contains "nods to the 1930s Cab Calloway with the call and response and the Hi-De-Hos."

So, about these Hi-De-Hos (or Ho De Hos . . .). I have written about these before. And I shall add a few more words about them here. But I do want to emphasize that, when I talk about the controversy, I am only talking about a pop song, and that the word "controversy" resides within that realm.

So here we go:

First, "Minnie The Moocher" was based upon two or three other songs - one being SJI (Calloway used SJI as his signature tune in his early days at the Cotton Club and insisted that its replacement should stay close, in the instrumental arrangement, to SJI) and another being an old song from the Wild West, "Willie The Weeper" (from which Calloway and Irving Mills borrowed very heavily). In Cab Calloway's autobiography, "Of Minnie The Moocher And Me" (1976) Cab (with his co-writer Bryant Rollins) said:

"The 'hi-de-ho' part came later, and it was completely unexpected and unplanned. ... During one show that was being broadcast over nationwide radio in the spring of 1931, not long after we started using 'Minnie the Moocher' as our theme song, I was singing, and in the middle of a verse, as it happens sometimes, the damned lyrics went right out of my head. I forgot them completely. I couldn't leave a blank there as I might have done if we weren't on the air. I had to fill the space, so I just started to scat-sing the first thing that came into my mind.
"'Hi-de-hi-de-hi-de-ho. Hi-de-hi-de-hi-de-ho. Ho-de-ho-de-ho-de-hee. Oodlee-odlyee-odlyee-oodlee-doo. Hi-de-ho-de-ho-de-hee.' The crowd went crazy. And I went right on with it - right over the live radio - like it was written that way. Then I asked the band to follow it with me and I sang, 'Dwaa-de-dwaa-de-dwaa-de-doo.' And the band responded. By this time, whenever the band responded some of the people in the audience were beginning to chime in as well. So I motioned to the band to hold up and I asked the audience to join in. And I sang and the audience responded; they hollered back and nearly brought the roof down. We went on and on for I don't know how long, and by the end the rafters were rocking and the people were standing up and cheering."


That sounds pretty straight forward. But, in his introduction to the same book Calloway also wrote, referring to Minnie:
"I don't know how it got started, really, the scat singing. I think one night in the Cotton Club I just forgot the words to a song and started to scat to keep the song going ..."

Hmmm. His manager and co-writer (Irving Mills), on the other hand, was adamant that he, Mills, wrote most of the song, basing it upon "Willie The Weeper," and that the call-and-response had always been an integral part of it, as it had been with "Willie The Weeper." From the link above: "Irving Mills claimed he wrote 'Minnie the Moocher' himself. He completed it in a couple of hours, using one of the Mills Music house musicians to transcribe the melody." Calloway then, according to the 1933 newspaper interview with Mills, “injected his catching musical personality into the piece.”

The image accompanying this post is from one of the first sheet-music covers for "Minnie The Moocher." (Sheet music sales were still a major commercial enterprise.)  The date is 1931, the year Calloway started performing the song and, as you can see in the image below, the scat-singing was already integrated into the song sheet. (Clicking should enlarge the image.) Calloway became known as "The Hi-De-Ho Man," audiences loved responding to his Hi-De-Hos and - from the perspective of his career - "Minnie The Moocher" and its call and response were very important.

This doesn't, by any means, settle the "controversy." But it might help to give it an outline.