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This might be my favorite song of all time. When I finished 6th Grade, it was the only song that could encapsulate my feelings that the best year up to that point was over.

I’m glad this was recorded back in 1910 by the Zonophone Concert Orchestra.

Finalmente!!! Siiii, he estado esperando que subieras este Rag desde noviembre de 2023!!! Finalmente está con nosotros, uno de mis rags favoritos!!! Caray siiiii al fin ahshgahghgh. Gracias! ¿Podrías luego compartir Magnetic Rag, Silver Swan Rag, Paragon Rag, Euphonic Sounds, Ice Palace March o el fragmento perdido de Scott Joplin??

A very beautiful piece!

Ahhh one of my favorite rags, thanks for sharing! 🎼 the description / analysis is great for each section 😊 The 3rd section is really “elegant” and sets the mood apart from the other sections for sure, and that D section segues really nicely after the 3rd section. Side note - I thought you uploaded all Joplin pieces by now, so thanks for this pleasant surprise 😃

Absolutely beautiful “Blues “ here” in Ontario, Canada, John Howieson 😊

Mm

Alan Lomax was in his early 20s at the time. It’s crazy how he started his career with such an illustrious interview. Though I suppose JRM was mostly forgotten by the public at the time.

I have a question/request Do you think you could get some recordings of Tony Jackson? (the one Jelly Roll Morton really looked up to). I can't finy anything besides pretty baby and I'm Cert'ny Gonna See 'bout That

Always good to see these recordings!!

This is amazing!! 🤍Thanks for taking the time to compile and get access to these precious recordings and materials!! 🎶 I'm loving these tracks filled with jazz music 😎 halfway listening and it's the perfect video to get your mind off the day and make you feel happy afterwards! 😁 I did not know much about Mr. Morton prior, so I'm glad I got to learn a little more about the "Jelly Lord" thanks to you! 🙂

Are you going to upload all of them? That would be great. I've been struggling to find half of them after they where removed from Spotify. Might it make sense to upload each recording with a different title though to make it easier to navigate them? I'm looking forward to seeing the rest of these though. These are my favourite recordings ever. Also, on Spotify before these where removed there was a recording of Picou playing his High Society that just had Jelly Rolls name on the recording. I think Lomax recorded that and interviewed Picou as well. I wonder if you have that recording as well as I had been transcribing it as it was removed. Thanks again for uploading these and I'll look forward to hearing the rest again.

***Full transcription to be uploaded in short time. Had to make sure the video itself would pass RUclips first, haha.

*Continued biography from description:* Thus the following year, the Gressings would relocate themselves to Manhattan, in order for Nora to search for greater opportunities out there on the circuit. Attempting to make her way in show business even further, Nora became known as a capable comic actress and songstress, with her fame spreading fairly quick over the next couple of years. By late 1903 she was featured at B.F. Keith's theater, and in early 1904 she was a regular both there and at Hammerstein's Vaudeville Theatre in Manhattan. Returning to San Francisco the same year while on the road, she would even be recruited to star in a local production of A Lucky Stone, and was described in the announcement as "bewitchingly pretty and has a voice that will captivate the Fischer [Theatre] crowd on first trial." A similar tout to her growing fame appears later on in an October 1904 Washington Post notice, referred to her as the "Popular comedian Nora Bayes" with the subsequent review stating that she was "entertaining in a combination of music and comedy." By 1905 and onward, Nora Bayes had already become a name known across every parlor in New York as well as a name overseas with her opening at London’s Palace Theatre in November, becoming one of the UK’s newest stars! Where her husband exactly was or what he was occupied with during all of this time is unclear, as was whether he traveled with her. What had been clear for all to see however was that Nora had now become easily prone to scrutiny as much as her popularity- and how big of an effect it would have on her personal life. Quickly learning that certain things were hard to get away with or even away from, Bayes had ended up divorced by Gressing in mid-1907 after an alleged “affair” between a Pittsbugh millionaire that had gone publicly reported. Whether or not the apparent affair was staged in order to get out of a now inconvenient marriage for the star is uncertain, yet the sudden spike of interest in her personal life certainly did not stop her from climbing higher in the world of show business. Toward the end of the same year, Nora would find critical success with her involvement in Broadway hit “The Follies of 1907”, cementing her name in entertainment indefinitely. It would also be here where she would meet her most inspiring partner to help propel her to the top of it all, yet most often in a somewhat subjugated role. Jack Norworth (born as John Knauff) is said to have met Ms. Bayes just as he was making his way up the ladder as a song and dance man in New York, at times in black face. Like Nora, he had escaped his restrictive life in Pennsylvania to become an actor, a similarly shared journey that may have contributed to their future romantic link. By the 1908 season of “The Follies”, they were not only put to stage as a couple, but had already co-composed quite a handful of songs for the show, including the everlasting and endearing hit “Shine On, Harvest Moon.” Officially tying knots later on in the year, Nora and Jack quickly became one of the most watched couples in the show business gossip world, predating even the soon-to-be society giants of Irene & Vernon Castle. From 1909 to 1912, many eyes were cast on the Norworth’s and their doings, lifestyle, wardrobe, and even hairstyles. Plenty of women wanted to dress like Nora, don hats like Nora, and achieve Nora's streak of independence as the roles of the two had become increasingly clear: Nora was the obvious star of the pair, commanding the higher salary & media dominance. Jack on the later hand as the co-songwriter & nothing much more that could compete with Nora’s popularity. Jack’s occasional flirting and more than rumored womanizing between other stage girls would not help his position in the relationship any further. Yet this “independence” as covered by the media would not always come about as lofty as it may have appeared, with Nora often stuck between her frustration with Jack's wanderings & the idea that she was not getting her fair due on stage, often challenging her employers and believing her popularity with the theater-going public would help her case. As the years had gone by, a consistent string of backstage drama between the two alongside poor/failed show performances would lead the famed couple to a secret divorce in 1913, granting Nora even more independence than before. It would only be until February 23rd when the news would leak and become publicly published first in Chicago, shocking the city and eventually the entire world. Even with the public disappointment of their favorite couple being split, Nora would only continue to climb even higher to fame on the vaudeville circuit through her temperamentally demanding wit & comedic charm. Having already recorded a few sides under Victor in the past, she would resume recording sessions by 1914 and continue performing at theatrical shows chiefly under B.F. Keith’s chain, eventually parting ways to become her own manager. With the delight in producing her own shows as one of New York’s star celebrities, Nora’s legitimate interest in settling down once more with a husband had been close to zero, as seen with her ill-lived marriage to a fellow co-star shortly after her divorce from Jack and another between a local entertainer after being discovered in bed with another man. In spite of all her constant fame and attention, the emergence of the Jazz Age, radio & movie screenings after WWI had marked the fall of theatrical acts dominating US entertainment, meaning that Bayes’ shining star run was starting to fizzle out. By her 5th marriage in 1925, Nora had continued to perform at a variety of venues and record, yet bookings would only continue to decrease as she was now stuck to her now old style of performance, mostly novelty comic numbers. To make matters worse for the future of her career, the cancer that had allegedly been first discovered in 1914 had begun to ravage her body by 1927, dropping her weight to around 82 pounds. Keeping her condition secret from the public, she tried her best to make at least some public appearances at charity benefits and on radio shows, the latter of which were quickly growing in popularity. The following year in March as her fame continued to shrink, Nora had admitted herself into the Brooklyn Jewish Hospital, reportedly for "a rest" as the cancer continued on. Doctors there attempted to ease some of the symptoms, and perhaps remove the cancer altogether, with an abdominal surgery on March 18th. But within 24 hours, Nora Bayes’ career would formally come to a close as well as her storied life at the age of 47. Behind her, she had left three adopted children (adopted between her 3rd & 4th marriage), five husbands and an adoring mass of heartbroken fans both at home and across seas. Bringing much life & joy to the world of entertainment from a troubled start to a troubled end, Nora’s remarkable touch to American Theater and the American songbook had continued to reflect well beyond her death with not only a 1944 biopic covering her career spent with Jack Norworth, but also with her induction into the National Recording Registry for the song “Over There” on April 11, 2006. There, the official citation reads: 'Over There, Nora Bayes (1917) - Inextricably associated in popular imagination with World War I, Nora Bayes' recording introduced George M. Cohan's song and became an international hit. Cohan had specifically requested that Bayes be the first singer to release his composition. A former member of the Ziegfeld Follies, an extremely popular vaudevillian and a Broadway star, she recorded a number of other songs to boost morale during the war and performed extensively for the soldiers." From a well obedient Jewish wife to a national super-star across the states, it is no wonder as to why Ms. Nora Bayes continues to shine on to this very day and for many more wonderful years left to come.

absolute, absolute gem of a collection. have you come across any of his performances of I'm Gonna Sit Right Down And Write Myself A Letter?

Thank you so much for the upload. I've been following your content for months, and you've been an excellent person for furthering the exposure of the classic greats. Kudos to you, and much love. <3

*Continued biography from description:* Thus the following year, the Gressings would relocate themselves to Manhattan, in order for Nora to search for greater opportunities out there on the circuit. Attempting to make her way in show business even further, Nora became known as a capable comic actress and songstress, with her fame spreading fairly quick over the next couple of years. By late 1903 she was featured at B.F. Keith's theater, and in early 1904 she was a regular both there and at Hammerstein's Vaudeville Theatre in Manhattan. Returning to San Francisco the same year while on the road, she would even be recruited to star in a local production of A Lucky Stone, and was described in the announcement as "bewitchingly pretty and has a voice that will captivate the Fischer [Theatre] crowd on first trial." A similar tout to her growing fame appears later on in an October 1904 Washington Post notice, referred to her as the "Popular comedian Nora Bayes" with the subsequent review stating that she was "entertaining in a combination of music and comedy." By 1905 and onward, Nora Bayes had already become a name known across every parlor in New York as well as a name overseas with her opening at London’s Palace Theatre in November, becoming one of the UK’s newest stars! Where her husband exactly was or what he was occupied with during all of this time is unclear, as was whether he traveled with her. What had been clear for all to see however was that Nora had now become easily prone to scrutiny as much as her popularity- and how big of an effect it would have on her personal life. Quickly learning that certain things were hard to get away with or even away from, Bayes had ended up divorced by Gressing in mid-1907 after an alleged “affair” between a Pittsbugh millionaire that had gone publicly reported. Whether or not the apparent affair was staged in order to get out of a now inconvenient marriage for the star is uncertain, yet the sudden spike of interest in her personal life certainly did not stop her from climbing higher in the world of show business. Toward the end of the same year, Nora would find critical success with her involvement in Broadway hit “The Follies of 1907”, cementing her name in entertainment indefinitely. It would also be here where she would meet her most inspiring partner to help propel her to the top of it all, yet most often in a somewhat subjugated role. Jack Norworth (born as John Knauff) is said to have met Ms. Bayes just as he was making his way up the ladder as a song and dance man in New York, at times in black face. Like Nora, he had escaped his restrictive life in Pennsylvania to become an actor, a similarly shared journey that may have contributed to their future romantic link. By the 1908 season of “The Follies”, they were not only put to stage as a couple, but had already co-composed quite a handful of songs for the show, including the everlasting and endearing hit “Shine On, Harvest Moon.” Officially tying knots later on in the year, Nora and Jack quickly became one of the most watched couples in the show business gossip world, predating even the soon-to-be society giants of Irene & Vernon Castle. From 1909 to 1912, many eyes were cast on the Norworth’s and their doings, lifestyle, wardrobe, and even hairstyles. Plenty of women wanted to dress like Nora, don hats like Nora, and achieve Nora's streak of independence as the roles of the two had become increasingly clear: Nora was the obvious star of the pair, commanding the higher salary & media dominance. Jack on the later hand as the co-songwriter & nothing much more that could compete with Nora’s popularity. Jack’s occasional flirting and more than rumored womanizing between other stage girls would not help his position in the relationship any further. Yet this “independence” as covered by the media would not always come about as lofty as it may have appeared, with Nora often stuck between her frustration with Jack's wanderings & the idea that she was not getting her fair due on stage, often challenging her employers and believing her popularity with the theater-going public would help her case. As the years had gone by, a consistent string of backstage drama between the two alongside poor/failed show performances would lead the famed couple to a secret divorce in 1913, granting Nora even more independence than before. It would only be until February 23rd when the news would leak and become publicly published first in Chicago, shocking the city and eventually the entire world. Even with the public disappointment of their favorite couple being split, Nora would only continue to climb even higher to fame on the vaudeville circuit through her temperamentally demanding wit & comedic charm. Having already recorded a few sides under Victor in the past, she would resume recording sessions by 1914 and continue performing at theatrical shows chiefly under B.F. Keith’s chain, eventually parting ways to become her own manager. With the delight in producing her own shows as one of New York’s star celebrities, Nora’s legitimate interest in settling down once more with a husband had been close to zero, as seen with her ill-lived marriage to a fellow co-star shortly after her divorce from Jack and another between a local entertainer after being discovered in bed with another man. In spite of all her constant fame and attention, the emergence of the Jazz Age, radio & movie screenings after WWI had marked the fall of theatrical acts dominating US entertainment, meaning that Bayes’ shining star run was starting to fizzle out. By her 5th marriage in 1925, Nora had continued to perform at a variety of venues and record, yet bookings would only continue to decrease as she was now stuck to her now old style of performance, mostly novelty comic numbers. To make matters worse for the future of her career, the cancer that had allegedly been first discovered in 1914 had begun to ravage her body by 1927, dropping her weight to around 82 pounds. Keeping her condition secret from the public, she tried her best to make at least some public appearances at charity benefits and on radio shows, the latter of which were quickly growing in popularity. The following year in March as her fame continued to shrink, Nora had admitted herself into the Brooklyn Jewish Hospital, reportedly for "a rest" as the cancer continued on. Doctors there attempted to ease some of the symptoms, and perhaps remove the cancer altogether, with an abdominal surgery on March 18th. But within 24 hours, Nora Bayes’ career would formally come to a close as well as her storied life at the age of 47. Behind her, she had left three adopted children (adopted between her 3rd & 4th marriage), five husbands and an adoring mass of heartbroken fans both at home and across seas. Bringing much life & joy to the world of entertainment from a troubled start to a troubled end, Nora’s remarkable touch to American Theater and the American songbook had continued to reflect well beyond her death with not only a 1944 biopic covering her career spent with Jack Norworth, but also with her induction into the National Recording Registry for the song “Over There” on April 11, 2006. There, the official citation reads: 'Over There, Nora Bayes (1917) - Inextricably associated in popular imagination with World War I, Nora Bayes' recording introduced George M. Cohan's song and became an international hit. Cohan had specifically requested that Bayes be the first singer to release his composition. A former member of the Ziegfeld Follies, an extremely popular vaudevillian and a Broadway star, she recorded a number of other songs to boost morale during the war and performed extensively for the soldiers." From a well obedient Jewish wife to a national super-star across the states, it is no wonder as to why Ms. Nora Bayes continues to shine on to this very day and for many more wonderful years left to come.

Orgullosamente de origen mexicano 🇲🇽

There are two arrangements of Junk Man Rag, and Prof. Edwards has played both of them. Unfortunately, the arrangement here is the wrong one. It is by William H. Tyers.

Ah, yes. My favorite.

Hello! By Any Chance do you have Rudi Blesh's wonderfully written "Scott Joplin: Black-American Classicist" available online?

This is just fabulous! Thank you ~

Uno de mis rags favoritos, me encanta porque es como una versión de Maple Leaf Rag más clásica, incluso tiene los mismos acordes jeje! Aunque algo en que se diferencia principalmente es en su melodía, aún si trata de imitar a la de Maple Leaf, sobre todo diría que su melodía se vuelve muy propia a partir de la sección C. La verdad, aprender a tocar Gladiolus fue algo que me encantó, hasta la fecha no paro de tocarla diariamente jaja. Recuerdo que una vez se la toqué a mis abuelos y dijeron que era una de las piezas más bonitas que habían escuchado. Qué bonita pieza caray!!

0:47

Something seems to have changed recently with the RUclips app on the iPad. I used to be able to tap the video while it was playing and the name of the rag currently playing would be displayed. That no longer happens. Also I was previously able to display the contents in a convenient format running either horizontally or vertically (synchable to video time) but now the only option seems to be the transcript. I guess the transcript achieves the same result but it was handy to be able to tap and get the name of the rag currently playing. Anyone else have a similar experience?

How I do love The Richmond Rag❤

Niceeee!

Wow George!! This is impressive!! Had no idea you composed music, that’s so cool that you write music too, and used Musescore to publish and keep a written record of it this one. I really don’t think there’s any “mistakes” (which are subjective, in my opinion). This march really made me smile and happy 😃 I genuinely loved it 🥰 it’s very simple and happy sounding. Please share more of your own works with us! 🩵 really great job 👏🏻 (maybe next time we can hear you play it yourself! 🙂).

Wow, I had no idea you compose music! This was a pleasure to listen to and great for a first piece. I'm actually composing a ragtime piece myself as part of my music course at school (which I'm finding really hard to do on a computer) and this is some great inspiration! (obviously not outright plagiarism though). Congrats

One of a few if not the only piece Joplin added his own metronome marking.

I assume its you , George , playing and not a piano roll ! If so you do a fantastic job and Im glad to hear the less familiar songs played so well

I'm curious about the opening photo - that appears to be Harry Lim of Keynote Records, but I didn't know he had any connection with Morton. Thanks for the post, though - great stuff!

2nd yr accordion student. How do you buy Cherry Blossom sheet music? Do you have a simpler version for students?

Музыка светлая...

These are clearly piano rolls. I distinctly recall hearing older recordings of Hilarity Rag and Frog Legs Rag playing, and these recordings sound the same as the recordings I had heard before.

Son obras muy conocidas de Joplin

Is sheet music available for any of the pieces featured on this playlist?

One of my absolute favorites, too, though this performance is a little on the fast side for my liking. Still, MG’s adless videos are immensely appreciated.

I played this music in the restaurant. Now it is a saloon.

The titles are pure poetry! And the music delivers!

As far as fats surpassing j p Johnson in stride piano,all I can say is they were both giants that did certain things different,,,true fats generally had I think a harder swinging rhythm,and was a smootherr pianist,on the other hand,jp had a more creative and complex musical mind and more interesting basses...fats was better composer of songs but j p was a much better writer of rags and formal compositions....frankly I don't like desecting great musicians....as I said they were both giants and I've idolized them both close to 65 years,and I've played stride for at least that long. They were both top of the line,,

Purple Grape Rag is definitely the best out of all of them.

*Continued biography from description:* From there, he would record many sides and scored an abundance of hits with RCA such as “Jitterbug Waltz,” “Honeysuckle Rose,” and “The Joint is Jumpin‘,” becoming one of the most popular jazz & stride pianist of the time, despite the notion that jazz was not a “serious” form of music. Around this point, it had even been said that Waller surpassed his former mentor James P. Johnson in both skill & efficiency when it came to pouncing on the keys. Waller’s other accomplishments include vaudeville appearances with the famous blues singer Bessie Smith, soon after which he wrote the music to the Broadway show “Keep Shufflin'.” In 1927, Waller met the poet and lyricist Andy Razaf where the two would go on to produce major hit songs & singles as well as collaborate on several musicals, the most of popular of which, "Hot Chocolates" would bring them great critical and commercial success from their partnership. By the early 1940s Waller was already earning himself a comfortable living as an entertainer, where he would go one to write the first non-black musical for Broadway by an African American called "Early to Bed," becoming a great hit during it's 1943 premiere. Yet due to it's showcasing in the midst of a musicians' strike against American recording companies, there was no cast album-not even recordings of single songs that actually remain from the show itself. Despite his hit Broadway work being lost within the fabrics of history, Waller would still find himself appearing as an musician, comedian & actor in major films throughout the remainder of career such as his biggest debut on screen being his role in the popular 1943 film "Stormy Weather." Even outside the scopes of appearing on screen, Waller had continued to entertain the nation far & wide with his voice alone, appearing on radio talk shows & broadcasts as early as 1938 and far off into the 40s. Finding major success in his acts of mixing comedical riffs & comments in between his performances, often at his audience, Waller was always known to be the life of the party, said to light up any room as soon as he steps a foot through the doorway. Yet with the his lavish lifestyle of partying also came it’s woes such as excessive drinking and sleepless nights of performing for any crowd be it strangers at a parlor or friends back at home. With his health only continuing to deteriorate due to both of those factors including his sheer size and weight of 285 pounds, contracting influenza by late November of 1943 would prove to be Waller’s final blow. Passing his last hours on the Santa Fe Chief, eastbound from the Zanzibar Club in L.A., he had already been laid up for weeks with the virus. You know that if people partying around the grand piano in the Club Car knew Fats was aboard, he’d have been summoned to perform, so it’s possible he didn’t get to his berth until he’d sweated out a set surrounded by the revelers while the train braved a blizzard, the winter winds of the plains howling outside. As the Chief pounded into Kansas City’s Union Station on the morning of December 15, 1943, Waller’s manager, Ed Kirkeby, found the big man in his berth, unconscious and unresponsive. The coroner’s statement reports that “Acute left influenzal bronchopneumonia” was “the immediate cause of death” with the place of death given as Union Station. To die in Kansas City’s Union Station? As Fats was known to say, “One never knows, do one?” With his death ending a roughly 25 year professional career for the 39 year old entertainer, a formal funeral was shortly held afterwards back in his very own New York City at Abyssinian Baptist Church. With a guest turnout of roughly 4,200 people, many had simply filled the streets to hear the program take place from a loudspeaker, with Waller’s body being cremated in the end & said to be privately spread across Harlem. From rags to riches & widespread face across borders and seas, Fats Waller continues to lighten up the world to this day through his comical recordings, filmed acts, and truly what one can call a dazzling legacy for all to witness.

As a fan of old-school Ragtime, I'm just blown away by these compositions. Looking to dive into more of Simpson's work in the near future.

Nice to hear these early Joplin pieces. Reference the comments I do not see any reference to ragtime symphonies or concertos in rudy blesh’s excellent and exhaustive introduction to Joplin’s collected piano works.

Sanford and Son brought me here to find out who was Jelly Roll.

This sounds exactly like Guido Neilson

Where was Pickles and Peppers. 😢My all time favourite.

Fantastic! Thanks, baby!