{"id":2541,"date":"2018-02-02T16:36:43","date_gmt":"2018-02-02T16:36:43","guid":{"rendered":"http:\/\/fourwallspublishing.com\/BlogMChaney\/?p=2541"},"modified":"2018-02-03T13:52:26","modified_gmt":"2018-02-03T13:52:26","slug":"american-music-jazz-horns-were-on-fire-along-the-delta","status":"publish","type":"post","link":"http:\/\/fourwallspublishing.com\/BlogMChaney\/?p=2541","title":{"rendered":"American Music: ‘Jazz horns were on fire along the delta’"},"content":{"rendered":"

Nineteenth\u00a0in a Series<\/em><\/p>\n

By Matt Chaney, for ChaneysBlog.com<\/p>\n

Posted Friday, February 2, 2018<\/p>\n

Copyright\u00a0\u00a92018 for historical arrangement by Matthew L. Chaney<\/p>\n

In the movement toward a recognized \u201cAmerican music,\u201d purely native and nurtured, no factor was greater than the abolishment of slavery through civil warfare, freeing four million blacks in the South.<\/p>\n

\u201cEmancipation brought new forms of discrimination and oppression for blacks, but it also permitted a self-expression that was not available under slavery,\u201d observed musicologist Bill C. Malone. \u201cPost-Civil War blacks eagerly sought forms of musical assertion that were uniquely their own, and they experimented with all types of instruments.\u201d<\/p>\n

Thousands of freedmen were seasoned musicians, ready-made, having performed for pay while enslaved, and they led the Afro-American surge in arts and entertainment of the postwar. A band of ex-slaves hit success quickly on tour, the Georgia Minstrels from Macon, Ga. They drew packed audiences, whites and blacks, for song-and-dance shows in the North, Midwest, and in the United Kingdom.<\/p>\n

Fans of American minstrelsy clamored to see \u201cbona fide negroes\u201d instead of stale \u201cwhite imitators\u201d in blackface. White minstrels were fading for pop music, and many transferred to opera and other work. Chicago raved over the Georgia Minstrels, their \u201crare ability\u201d on stage at Smith and Nixon\u2019s Hall. \u201cThis excellent troupe of real<\/em> African minstrels, which opened to so large and enthusiastic an audience on Wednesday night… gave another inimitable performance,\u201d The Tribune<\/em> noted on Sept. 22, 1865.<\/p>\n

\u201cThey are genuine colored men, needing no aid of burnt cork to give the tawn, and have all been slaves within the year. In view of this fact, their performance is something wonderful,\u201d a critic stated. The Afro-Americans achieved \u201cdepth of feeling and precision of execution which would do honor to a company of [musically] educated white men who have made a specialty of negro minstrelsy for years.\u201d<\/p>\n

Afro-Americans of music, dance and comedy changed show business in the latter 19th<\/sup> century. A few became major headliners, national stars of minstrelsy, vaudeville and burlesque. But black music and style thrived at the American grassroots, local level in community and neighborhood.<\/p>\n

Segregated society stood everywhere, North, South, East and West, but blacks played and starred in brass bands, string bands, and the increasingly popular cornet ensembles.<\/p>\n

Newspapers touted black musicians, if Northern song publishers ignored them, and talent was boundless along the great rivers. Afro-American players and bands lined the Mississippi, appearing at Dubuque, Alton, St. Louis, Cape Girardeau, Charleston, Bird\u2019s Point, Cairo, New Madrid, Caruthersville, Osceola, Memphis, Helena, Natchez, Vicksburg, Baton Rouge, Donaldsonville, LaPlace and New Orleans, among landings.<\/p>\n

The Bluff City Cornet Band of Memphis, \u201ccolored musicians,\u201d attracted all colors at a political rally in July 1878, reported The Daily Appeal<\/em>. The band played from a grandstand for political speakers, overlooking a sawdust pad on smooth ground, 50 feet in diameter, set under canopy of tall trees. \u201cThe surroundings\u2014the clear space covered with sawdust, and the inspiring strains of music\u2014suggested intoxicating dances, and the effect upon the young people and many of the old ones present was very marked.\u201d<\/p>\n

Innovative blacks pushed music toward a genuine American brand\u2014\u201cthe larger quest for a national music,\u201d observed Malone\u2014which was anticipated globally, what for the cutting-edge U.S. repute in disciplines from sciences to humanities. \u201cThis quest, of course, was not new but had been pursued at least since the days of Lowell Mason [church hymnist], who had sought to create a music that would represent America\u2019s distinctiveness while also winning the respect of the world,\u201d Malone wrote in historical treatise, his book Southern Music\/American Music<\/em>.<\/p>\n

\u201cImplicit in this search was the belief that a true national music must embody native American material\u2014that is, that it must rest upon an indigenous folk basis.\u201d<\/p>\n

In 1876 America remained in musical incubation, typical for a nation at centennial age,\u00a0said a German symphony conductor. \u201cI hardly think that its composers have been developed yet,\u201d Hans Von Bulow told a Chicago reporter. \u201cThere has been some music of a good class written by Americans, but the time for deep and thorough American music has not yet come. America is one of two young nations on earth; Russia is the other. This is an age of receptivity, not only in music but in art, and after the age of receptivity comes that of productivity.\u201d<\/p>\n

\u201cIt is not a matter of this century but of the next. But the time will come.\u201d<\/p>\n

Musicians progressed, notably south, where \u201cjazz horns were on fire along the Mississippi delta in the \u201980s,\u201d per one account. Delta players were improvising, particularly the blacks, by \u201cragging\u201d song fragments on cornet, trombone, clarinet, piano and strings. Audiences grew across racial lines for rhythm variations and syncopated melody<\/em>, counterpoints and overlays among artists, sounding throughout the flatland.<\/p>\n

Subsequent legend held that Southern musicians understood the term \u201cjass\u201d or \u201cjaz\u201d by the Civil War, but historians later could not confirm. Regardless, delta players from Cairo southward rolled on jazzy method, meaning “to speed things up\u201d for dance rhythm, \u201cswing\u201d beat on banjo, piano and horn.<\/p>\n

\u201cOn wind instruments in New Orleans negroes created their own technique of performance with strange and poignant effects, tone qualities, colour, and new harmonies based on continuous conscious deviation from pitch\u2014things which no text could possibly teach because it never existed before,\u201d\u00a0an analyst surmised in 1946.<\/p>\n

***<\/p>\n

Early horn players in New Orleans faced backlash from newspapers. \u201cWe do not wish to find fault\u2026,\u201d carped a Times-Picayune<\/em> editorial in 1837. \u201cBut the brass of certain players in the St. Charles Orchestra is very annoying. Does not Mr. Fallon see that the trombones and trumpets of his band are too noisy?\u201d<\/p>\n

Damn their critics, brass players kept up the racket, and The Times-Picayune<\/em> conveyed exasperation in August of 1838. \u201cThere is a real mania in this city for horn and trumpet playing. You can hardly turn a corner that you do not hear some amateur attempting, in a perfect agony, to perform his devotions to the God of Music. A [citizen] remarked to us yesterday that he\u2026 earnestly desired to see the last<\/em> trumpet.\u201d<\/p>\n

Fat chance, quieting New Orleans for music and events like a\u00a0novel celebration, based on French les carnaval<\/em>, to become known as Mardi Gras. \u201cA lot of masqueraders were parading through our streets yesterday\u2026,\u201d The Times-Picayune<\/em> reported on Feb. 8, 1837, \u201cand excited considerable speculation as to who they were, what were their motives, and what upon earth could induce them to turn out in such grotesque and outlandish habiliments\u2026 Boys, negroes, fruit women and what not, followed the procession.\u201d The newspaper panned \u201charsh and discordant music\u201d of this \u201cCowbellion\u201d parade, dismissing\u00a0its \u201cnoise and tumult.\u201d<\/p>\n

Local writers also sneered at a dance wizard managed by P.T. Barnum: John Diamond, \u201cbreak-down\u201d specialist and the white rival of \u201cMaster Juba\u201d William Henry Lane, sensational black performer in New York City.<\/p>\n

Diamond, an American teen celebrity through Barnum promotions, dominated New Orleans entertainment during his week\u2019s run at the St. Charles Theatre in February 1841. Fans\u00a0lined up for shows, audiences reflecting the \u201cKaleidoscopic\u201d city in ethnic diversity and class structure, to see a white youth greased black, dancing \u201cEthiopian.\u201d<\/p>\n

Times-Picayune<\/em> critics were bemused by Diamond\u2019s success and popularity. They discounted him, huffing about European entertainment as \u201clegitimate\u201d achievement and little else.<\/p>\n

Malone related: \u201cThe music audience in the South, as elsewhere in the United states, was very early divided between people who clung to the idea of music as a formal, academic art which could only be appreciated by an educated elite, and people who thought music was an informal, emotionally perceived expression of the masses.\u201d<\/p>\n

New Orleans critics were disgusted that Diamond drained theater attendance elsewhere for Italian opera, German symphony and English drama. New Orleans should be ashamed, critics suggested, practically \u201cwaiting for another visitation from Master Diamond.\u201d So he obliged a month later, returning in triumph for another\u00a0smashing stand at St. Charles Theatre.<\/p>\n

The New Orleans press softened on mirth-making, had to, given the cosmopolitan cityscape unfolding, more than 100,000 people from worldwide. Arts and entertainment constituted civic priority with\u00a0song and dance beheld reverently. \u201cNew Orleans was peculiarly situated to receive music from many places in the world,\u201d Malone noted. \u201cThroughout the century New Orleans was known for the breadth and variety of its music.\u201d<\/p>\n

The peoples included English, Irish, Italian, Chinese, French, and Spanish\u2014the latter largely Creoles, many with African blood\u2014along with Greeks, Germans, Poles, Hebrews, Arabs, West Indians and American Indians. \u201cNew Orleans is a world in miniature, subdivided into smaller commonwealths, in every one of which distinctive traits of national character are to be seen, and the peculiar language of its people is to be heard spoken,\u201d The Times-Picayune<\/em> reported in September 1843.<\/p>\n

Socio-economic class ranged from the affluent to poor, with the latter concentrated in slums along the river levee. Cultured elites, including Creoles, rode in chauffeured carriages while poor folks walked, such as country whites\u2014\u201cHoosiers, Wolverines, Pukes and Corn-crackers,\u201d The Times-Picayune<\/em> decribed, continuing: \u201cThe Negroes are scattered through the city promiscuously; those of mixed blood, such as Griffes, Quarteroons\u2026 showing a preference for the back streets of the First [Ward] and part of the Third Municipality.\u201d<\/p>\n

The paper urged that visitors stroll New Orleans streets\u00a0during evening to \u201cencounter as much novelty and as great a diversity of national character\u201d as anywhere. A weekend experience was Congo Square, public commons fringing the French Quarter,\u00a0where blacks gathered in music and dance to form \u201cpoetry of motion.\u201d<\/p>\n

\u201cThere is Congo Square, a right-angular patch, covered with a green sward, of some six or eight acres, bordered round by a few stunted trees, and intersected by gravel paths,\u201d The Daily Delta<\/em> described of a Sunday in September 1846. \u201cThe sun has slackened the intensity of his midday rays\u2026 the Parish Jail frowns sullenly hard by, and the bell of the old Cathedral summons the faithful to vesper devotion.\u201d<\/p>\n

\u201cThe scene and situation might not be considered\u2026 as well calculated to create or keep alive boisterous mirth. But the hundreds of negroes of both sexes there assembled are too engrossed with the amusements of the hour to devote a thought to anything else.\u201d<\/p>\n

Drums and accompaniments broadcast the sharpest sound\u00a0in the outdoor setup,\u00a0likewise producing cadence most effective for African-rooted syncopation. The drummers overlaid each other\u2014and competed\u2014in loud, spirited beats, tones and flurries, banging, knocking and slapping surfaces with hands and objects. Castanets fashioned of cow rib made \u201cbone music.\u201d Other musicians followed the lead of percussionists, typically on a Sunday evening at Congo Square.<\/p>\n

\u201cThere are, first, two fellows each astride a cask, beating with all their might a half-dressed sheepskin that is fastened on by wooden pins over the end of it,\u201d reported The Daily Delta<\/em>. \u201cThen there is a fellow beating an oak log\u2014another is strumming a monster banjo, some vocal performers are assisting\u2014but above them all is heard the clear and lively rattle of the bones.\u201d<\/p>\n

Writers at Congo Square witnessed black fiddlers, fife players and tambourine players. Cornet blowers unleashed in \u201cthe clangor of trumpets,\u201d blasting across the plain.<\/p>\n

Dancers\u00a0made action everywhere on the grounds, in groups, by families, couples, singly. A spectacular gathering materialized in June 1845, thousands of blacks in sound and movement, drawing attention of The Times-Picayune<\/em>, which headlined its report \u201cScenes In Congo Square.\u201d<\/p>\n

\u201cRude instruments of their own contrivance, the like of which we have never seen before, were being played on Sunday last with a zeal that showed the enthusiasm of the performers, while sets of dancers were shuffling and breaking down upon the green sward with an earnestness that knew no tiring\u2026 they danced and sang away, merrily enough, until the going down of the sun.\u201d<\/p>\n

Improvisation was trademark of black musicians and the string instruments struck note variations and syncopation. Early forms of ragtime and blues were\u00a0heard by mid-century, if not yet identified as such. \u201cThe roots of ragtime lay in Afro-American dance music, in the fiddle-and-banjo music of the plantations marked by the rhythmic accompaniment of foot stomping and hand clapping,\u201d Malone observed. Plaintive, bluesy melodies were \u201cemerging from the tradition of field hollers, work shouts, and spirituals.\u201d<\/p>\n

\u201cEmancipation brought a new freedom to articulate grievances and desires, and it also permitted black music to develop in something other than a communal setting.\u201d<\/p>\n

\u201cIt\u2019s the fact of the abolition of slavery that made jazz music possible,\u201d\u00a0intoned Wynton Marsalis, New Orleans native and modern jazz master. \u201cIt came from a consciousness of those who are outside of something\u2014but in the middle of it. These are people who are American in the realest sense, but they\u2019ve been denied access to recognition as Americans. But that doesn\u2019t alter the fact that they are<\/em> American, and the fact that they have access to all the information that Americans have access to.\u201d<\/p>\n

New Orleans resounded in horn-blowing. Military instruments were readily available across the city, a federal stronghold, and black talent loaded the many\u00a0marching bands. \u201cYou have musicians playing their horns; they have all these instruments that are left over from the Civil War,\u201d said Marsalis, co-producer of Jazz: A Film by Ken Burns<\/em> in 2001.<\/p>\n

\u201cMilitary instruments and the trumpets are played in a militaristic style, bom-bom-bom-bom, bah-bah-bom-bom<\/em>\u2026 Then all of a sudden instead of playing in a straight military style, on a hymn or a beautiful melody, now they\u2019re imitating the sound of the people in church-singing. They have the vibrato at the end of the note. They\u2019re shaking<\/em> notes: they play Do-o-o <\/em>[long vowel]\u2026 De-e-e, De-e-e\u2026 Bu-u-u.. De-e-e,\u00a0 Lu-u-u, De-e-e…<\/em>Then the music gets another power and feeling.\u201d<\/p>\n

\u201cIn the way that profound things almost always happen, a thing and the opposite of that thing are mashed together,\u201d Marsalis said. \u201cNow you have the people getting the spiritual sound of the church, and they\u2019re also getting that secular sound, of the blues. And the musicians who could understand both of those things, and put both of them in their horns side-by-side, so they could represent that angel and that devil\u2026 that was the ones that could play.\u201d<\/p>\n

***<\/p>\n

Throughout the 1890s so-called experts groped to identify an \u201cAmerican music.\u201d Some claimed white minstrelsy was the genuine brand while others anointed black spirituals. Some argued Protestant hymnology was native music; others declared the distinction\u00a0for massive choral gatherings of the Northeast, 20,000 voices together as one, multi-ethnic, singing to heaven, but rather contrived as the real thing. American symphony was nominated despite hopelessly duplicating the Europeans, its perpetual default.<\/p>\n

Meantime, ragtime music and \u201cthe blues\u201d broke out along the great rivers, and jazz method gelled in the delta.<\/p>\n

Piano ragtime was transcribed for sheet music by composers, finally, to document their style and simultaneously ignite a dance revolution. Moreover, supporters proclaimed ragtime established American music<\/em>, unmistakably, and the world was agreeing. Syncopated masterpieces like \u201cMaple Leaf Rag<\/a>,\u201d by Scott Joplin<\/a> , Afro-American composer in Sedalia, Mo., fairly setted the debate.<\/p>\n

\u201cNow you may go anywhere along the Mississippi River from St. Louis to New Orleans\u2014at Cairo, Memphis, Natchez\u2014anywhere that negroes congregate among the cotton bales or drone away the summertime among the grain wharves, and you will hear the rag,\u201d attested Charles E. Trevathan, white composer, journalist and Tennessee native.<\/p>\n

\u201cSometimes it is slow, mournful, wailing; sometimes it swings sensuously; sometimes, when the gin is in, it is wild, half barbaric; sometimes it takes on that shu-sha of the buck and wing [dance], quick, sharp, staccato and dangerous to the Christian heel which deems dancing a sin.\u201d<\/p>\n

\u201cThe rag is by no means a musical clown,\u201d Trevathan continued. \u201cIts peculiar rhythm fits the wail and the sob of melody quite as well as the sugar heel shakes; it all depends upon the manner of expression. Rag is rhythm. It has nothing to do with the melody. It is simply a time beat, which is not march, schottische, waltz or anything but rag. But it makes some homely tunes delightful. You might call it broken time; time with joints in it; but time which is perfect in that the beats are true to the measure.\u201d<\/p>\n

\u201cArtists say one may put two colors close together and between them produce the effect of a third. The dropped note isn\u2019t lost\u2026 Rag goes on doing that for you. Giving you cues and suggestions until the melody is done.\u201d<\/p>\n

At New Orleans the musical improvisation was so prevalent, so fantastic that Joseph A. Decuir patented a\u00a0machine\u00a0to strike piano notes on paper instantly. A music critic hoped Decuir could further adapt his \u201cHarmonigraph Music-Recording Device,\u201d with its connecting rods to key strokes, for instruments like trumpet, to\u00a0 capture \u201chappy extemporization [and] exquisite melody\u201d of the artists.<\/p>\n

New Orleans\u00a0newspapers still missed prophets in their midst, namely the black pioneers of jazz to pass largely unknown until turn of the\u00a0century. Greats like trumpet genius Charles \u201cBuddy\u201d Bolden were only heard yet in Crescent City, mesmerizing\u00a0listeners\u00a0in parks, halls and bars, without press.<\/p>\n

New Orleans newspapers didn\u2019t embrace jazz greatness on their beat until about 1930, concluded Donald M. Marquis, modern biographer of Bolden. But Times-Democrat<\/em> scribes were certainly impressed in 1896, for their report on Madri Gras, even if still labeling the exquisite, local American music as \u201cdiscordant.\u201d<\/p>\n

King Rex\u2019s \u201croyal yacht\u201d arrived at the river wharf jammed with hundreds of steamboats, officially opening Fat Tuesday on the 18th<\/sup> of February. \u201cThere was a sound of music\u2026,\u201d reported The Times-Democrat<\/em>. \u201cThe floats of the King were in readiness, and as the Monarch\u2026 with his staff disembarked, they were brought into position, and the royal personages were snugly ensconced in the gilded seats and surrounded by their glittering escorts, and then the band played on.\u201d<\/p>\n

\u201cThere was a clattering of horses\u2019 hoofs upon the stones of Canal Street, a cloud of dust, a hurrying mass of spectators\u2026 a score of cymbal clangors and trumpet blowers, and the procession moved up the avenue, while the sounds of a hundred hands made the air resonant with discordant music.\u201d<\/p>\n

\u201cIt was a magnificent day,\u201d the paper pronounced, \u201cand there was nothing left to wish for.\u201d<\/p>\n

Matt Chaney is a writer and consultant in Missouri, USA. For more information visit\u00a0<\/em>www.fourwallspublishing.com.\u00a0 Email:\u00a0<\/em>mattchaney@fourwallspublishing.com<\/a>.<\/p>\n

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Neglected Genius. (1894, Oct. 30). New Orleans Times-Picayune<\/em> LA, p. 4.<\/p>\n

Negro Songs. (1881, Feb. 17). Marion Commonwealth<\/em> AL, p. 1.<\/p>\n

New Chicago Theatre. (1876, Jan. 15). Chicago Tribune<\/em> IL, p. 3.<\/p>\n

Normal. (1878, June 7). Bloomington Pantagraph<\/em> IL, p. 4.<\/p>\n

Old-Time Minstrelsy. (1874, Sept. 11). Washington National Republican<\/em> DC, p. 1.<\/p>\n

Paroquet Joe. (1886, Feb. 7). New Orleans Times-Picayune <\/em>LA, p. 5.<\/p>\n

Progress of Music in America. (1890, May 18). Chicago Tribune<\/em> IL, p. 31.<\/p>\n

Radical Meeting. (1868, March 26). Louisville Daily Courier<\/em> KY, p. 1.<\/p>\n

Ranger\u2019s Benefit. (1841, Jan. 30). New Orleans Times-Picayune<\/em> LA, p. 2.<\/p>\n

Returned Negro Troops. (1865, Nov. 16). Cairo Evening Times<\/em> IL, p. 4.<\/p>\n

River Intelligence. (1868, May 28). Louisville Daily Courier<\/em> KY, p. 3.<\/p>\n

River News. (1870, June 16). Evansville Daily Journal<\/em> IN, p. 3.<\/p>\n

Sanjek, Russell. (1988). American Popular Music and Its Business: The First Four Hundred Years: II, From 1790 to 1909<\/em>. Oxford University Press: New York NY.<\/p>\n

Saturday Last was Observed. (1867, Aug. 13). Louisville Daily Courier<\/em> KY, p. 3.<\/p>\n

Scenes in Congo Square. (1845, June 24). New Orleans Times-Picayune LA, p. 2.<\/p>\n

Scranton. (1878, Aug. 2). Wilkes-Barre Record of The Times<\/em> PA, p. 1.<\/p>\n

Select Picnic at Greenfield\u2019s Landing. (1870, July 23). Charleston Courier<\/em> MO, p. 3.<\/p>\n

Serenade. (1873, May 25). Nashville Union and American<\/em> TN, p. 4.<\/p>\n

Serenade Extraordinary. (1841, May 12). New Orleans Times-Picayune <\/em>LA, p. 2.<\/p>\n

Smith & Nixon\u2019s Hall. (1865, Sept. 20). [Advertisement.] Chicago Tribune<\/em> IL, p. 4.<\/p>\n

St. Charles Theatre. (1841, Feb. 14). [Advertisement.] New Orleans Times-Picayune<\/em> LA, p. 3.<\/p>\n

St. Louis Hotel Mask Balls. (1871, Jan. 20). New Orleans Times-Democrat<\/em> LA, p. 2.<\/p>\n

State News. (1871, May 16). Little Rock Daily Gazette<\/em> AR, p. 1.<\/p>\n

Stopped the Music. (1887, Jan. 11). Vicksburg Herald<\/em> MS, p. 4.<\/p>\n

The Candidates at Forrest City. (1888, June 14). Daily Arkansas Gazette<\/em>, Little Rock AR, p. 1.<\/p>\n

The Charleston Leap Year Ball. (1872, Feb. 10). Charleston Courier<\/em> MO, p. 3.<\/p>\n

The Choir. (1833, Sept. 23). [Advertisement.] Boston Post<\/em> MA, p. 1.<\/p>\n

The City. (1865, Sept. 21). Chicago Tribune<\/em> IL, p. 4.<\/p>\n

The Colored Brass Band. (1869, Sept. 29). Cairo Bulletin<\/em> IL, p. 3.<\/p>\n

The Colored Odd Fellows. (1877, Aug. 24). Kentucky Advocate<\/em>, Danville KY, p. 3.<\/p>\n

The Congo Dance. (1843, Oct. 18). New Orleans Times-Picayune<\/em> LA, p. 2.<\/p>\n

The First Concert. (1874, June 27). Cairo Bulletin<\/em> IL, p. 4.<\/p>\n

The Georgia Minstrels. (1865, Oct. 10). Detroit Free Press<\/em> MI, p. 1.<\/p>\n

The Georgia Minstrels. (1865, Oct. 24). Cleveland Daily Leader<\/em> OH, p. 4.<\/p>\n

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The Georgia Minstrels in England. (1866, July 24). Buffalo Daily Courier<\/em> NY, p. 8.<\/p>\n

The Harmonigraph. (1889, Aug. 21). Humeston New Era<\/em> IA, p. 2.<\/p>\n

The King Arrives. (1896, Feb. 18). New Orleans Times-Democrat<\/em> LA, p. 1.<\/p>\n

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Things Theatrical. (1899, March 4). Washington Evening Times<\/em> DC, p. 8.<\/p>\n

Trevathan, C.E. (1896, June 2). Something About \u201cThe Rag\u201d in Music. Wilkes-Barre Record<\/em> PA, p. 3.<\/p>\n

Union Hall. (1865, Oct. 13). [Advertisement.] Fremont Weekly Journal<\/em> OH, p. 2.<\/p>\n

Vauxhall Gardens. (1840, Aug. 3). [Advertisement.] New York Evening Post<\/em> NY, p. 3.<\/p>\n

Von Bulow. (1876, Feb. 9). Chicago Inter Ocean<\/em> IL, p. 2.<\/p>\n

We Do Not Wish. (1837, March 3). New Orleans Times-Picayune<\/em> LA, p. 2.<\/p>\n

White, L.H. (1926, May 15). Status of the Negro Musician in the Entertainment Field of New York City and What is Necessary for Betterment. New York Age<\/em> NY, p. 1.<\/p>\n

Windle, C.F. (1860, Jan. 1). New Orleans Sunday Delta<\/em> LA, p. 7.<\/p>\n

World\u2019s Exposition. (1885, Feb. 5). New Orleans Times-Picayune<\/em> LA, p. 2.<\/p>\n

Yazoo City Brass Band. (1879, May 2). Yazoo City Herald <\/em>MS, p. 3.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nineteenth\u00a0in a Series By Matt Chaney, for ChaneysBlog.com Posted Friday, February 2, 2018 Copyright\u00a0\u00a92018 for historical arrangement by Matthew L. Chaney In the movement toward a recognized \u201cAmerican music,\u201d purely native and nurtured, no factor was greater than the abolishment of slavery through civil warfare, freeing four million blacks in the South. \u201cEmancipation brought new … Continue reading American Music: ‘Jazz horns were on fire along the delta’<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":""},"categories":[283,374],"tags":[],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4ywFp-EZ","_links":{"self":[{"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=\/wp\/v2\/posts\/2541"}],"collection":[{"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2541"}],"version-history":[{"count":32,"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=\/wp\/v2\/posts\/2541\/revisions"}],"predecessor-version":[{"id":2549,"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=\/wp\/v2\/posts\/2541\/revisions\/2549"}],"wp:attachment":[{"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2541"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2541"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/fourwallspublishing.com\/BlogMChaney\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2541"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}