The record changer (Jan-Dec 1944)

played with Lucky Millinder, Claude Hopkins, Don Redman, made sides with JellyRoll, and had his own band at the Savoy Ballroom twice in 1937. ; The new trio at George's Tavern, near Bleecker Street on 7th Avenue South, in the Village, has Sinclair Brooks, leader and piano ; Wilson "Serious" Myers, bass, and George (Tiger) Haynes, guitar. . . . Mary Lou Williams replaced Sammy Price at Cafe Society Downtown November 14th. . . . Jay McShann was given an honorable discharge from the Army late in October and has formed a band again, along the lines of his former jump band, which is set for one-nighters through the south, and will feature his former blues singer, Walter Brown. JOPLIN (Continued from page 11) to publish the opera, but if so, it is apparent that he didn't succeed, since he went to the expense of publishing it himself. It also appears that he could not persuade any producer to stage the opera, and we understand that the only performance of Treemonisha ever given was at his residence, with the composer himself playing the piano. It is to be regretted that no public performance was ever given, as it was apparently Joplin's greatest effort, and no doubt contains considerable worth while music. By this time Joplin was about through, only a few numbers appearing after 1911, — Scott Joplin's New Rag in 1912, Kismet (with Scott Haydenj in 1913, Magnetic Rag in 1914, and Reflections in 1917, the last number being published by the Stark firm. It is fitting, perhaps, that the Stark company, which gave Joplin his early start, should publish his final composition. Scott Joplin died in New York in 1917, at the age of 49. To say that he left his mark on American music is the utmost in understatement. Joplin and his music were a vital force in American music for twenty years while he was alive, and the influence continues strong today, although he^ is seldom, if ever, given credit for it. We do not believe it is an exaggeration to paraphrase a quotation from the Stark Music Company, and say that "Here is the genius whose spirit . . . was filtered through thousands of . . . vain imitations." Sincere music lovers should become familiar with Scott Joplin's masterpieces; they owe it to the man who pertected a unique style of genuine American music and spent his life in bringing) it to the public, and they owe it to themselves, for it is verv fine music, —thoroughly enjoyable and worthy of the most critical attention. (The End) After publication of the first installment of this article, we were pleased to receive a letter from S. Brun Campbell, a personal friend of Scott Joplin from the days when Scott made his start in Sedalia, Missouri. Mr. Campbell enjoys the unique distinction of being the first white piano player to play the Maple Leaf Rag, having been coached on the number by Joplin himself. Like ourselves, Mr. Campbell believes that it is regrettable that Joplin has been neglected so long, and for the past two years he has been busy in an attempt to get the King of the Ragtime Writers' the recognition he -deserves, one of Mr. Campbell's aims being a memorial to Joplin, a project that he feels certain will be accomplished after the war. In the meantime, efforts are being made to bring Joplin and his music to the attention of the public, and Mr. Campbell has been endeavoring to promote a greater use of the music over the radio with credit being given to Joplin when his numbers are used. These aims are praiseworthy, particularly at this time, since November 24th of this year was the seventy-sixth anniversary of the composer's birth. We trust the readers will, support these efforts, and that we may see an awakening interest in Joplin ragtime. RECOTON NEEDLES SUPERIOR OR AUTOMATIC Package of 30 — 19c Postpaid BORIS ROSE 211 E. 15th St. New York 3, N. Y. If you are interested in off the air shots of famous speeches or spot broadcasts, like D-Day invasion and others, write JOHN VAN IDERSTINE Box 146 Wortendyke, N. J. 48