*Continued biography from description:* Aside from performing himself, he had also contributed to the large catalog of "Pike" pieces published, the Pike being the strip just outside of the fairgrounds where most of the ongoing entertainments were housed. As touted in the July 9, 1904 edition of The Music Trade Review ("a ready and rapid seller, and bands and orchestras in and around St. Louis and the fair are playing it right along."), Ed's "Hike to the Pike" proved to stand well with the ground's audiences, yet as with many pieces like this would soon forgotten after the fair's closure. Following his time spent in St. Louis & now in his new position as a offical court clerk in training, Ed was able to only turn out just a few pieces a year. Despite a now busy lifestyle, Ed would find his new works published regardless & would even make two breaks into Broadway as three of his songs were interpolated into two stage shows. The first, "Nearly a Hero" of 1908, included his songs "I Don't Want to Marry You" and "My Sahara Belle," running for several months at a total of 116 performances. The second production, "The Echo" of 1910, included his "My Guiding Star" and ran for a shorter period of 53 performances, with both performances recieving only tepid reviews at best. Nonetheless, they would help cement Claypoole's reputation as a solid composer & help solidify his footing in Baltimore. Becoming a local celebrity in Baltimore by the 1910s and in demand for a number of musical functions, Ed would enetr one of his most prolific periods in recent time, producing some of his biggest hits such as "Alabama Jigger", "Reuben Fox Trot", & "Ragging the Scale." Earning himself a name on the market by now with the chance of going bigtime with his music, Claypoole would actually insisted on upkeeping his position as a court clerk than taking a chance with a fad, slowing himself down in compositions once more. For his biggest hit "Ragging the Scale", he had even agreed to only a $25 payout instead of royalties, not seeing a career in music to be as fruitful in comparison to the courts. Still with the courts in early 1920s, Edward decided to test the waters again, coming up with the clever "Dusting the Keys" which actually included a little gimmick where the player was to literally dust the keys with a cloth on their index finger in the trio. With lyrics added in short order to create a song edition of the piece, it was yet another hit, but now completely in the novelty genre with Ragtime already out of mass public popularity. Encouraged by it's success, he wrote four more piano novelties that were all readily printed up by Mills Music, a leader in the genre during the era. While very few pieces followed his Mills novelties into print, Claypoole became a popular fixture on radio programs & at live venues in the late 1920s and into the 1940s, already having graduated to his ultimate position as Deputy Clerk. Making way into the early 50s, Edward would offically retired from music and after a remarkably strong 45 year career, from the Baltimore City courts as well. Unfortunately only seeing his retirement last a mere two years (during which he managed to pen only two more works), Claypoole would finally pass away on January 16th, 1952 at the age of 68. Serving as a fine representative in the courts as well as a rep. of popular music in Baltimore & beyond, we thankfully are left with many of his works today that continue to entertain us all. 125 years of quality music from a man of the same suit himself.
Glad to hear you were able to discover Claypoole and just so happen to find his music fascinating as well! Suprised that not to many people have heard of his name before. 😆 Well really, I run into those who know his music but not the composer, lol.
My favorites are 'Alabama Jigger', 'American Jubilee', 'Spooky Spooks' (one of the quintessential Halloween songs), 'Skidding', and 'Dusting The Keys'. But the best may be 'Kirmanshah,' a criticially underrated novelette. Named after a Persian city, its first theme evokes a sense of playful tranquility. But that peace is broken by the second theme, an episode in minor key that evokes a sense of urgency and an implacable feeling of uncertainty. Then the third theme is an 'oriental' 'oompah' beat, that characterizes a descending cloud of disaster. Then the second theme returns to certify this. But in the very end, the first theme is ushered back in, as if in clueless fallacy to the unseen cloud now in place above the scene. This is analogous to the time I first heard it, in Winter 2020. I was navigating through the straits of 7th Grade, unaware of the dark times of syndemic only weeks away. I felt a sense of dire circumstance had overcome the atmosphere, but I was not privy to how harrowing a turn our year would collapse into. This song would be recorded in 1919 by the Van Eps Trio.
Tis such a shame that "Kirmanshah" doesn't really get much attention out of the remainder of his works. :[ I love the way you describe it to because the piece really does paint out a scene of sorts. And don't even get me started on 2020-2021, ooo boy. 😵💫
*Continued biography from description:*
Aside from performing himself, he had also contributed to the large catalog of "Pike" pieces published, the Pike being the strip just outside of the fairgrounds where most of the ongoing entertainments were housed. As touted in the July 9, 1904 edition of The Music Trade Review ("a ready and rapid seller, and bands and orchestras in and around St. Louis and the fair are playing it right along."), Ed's "Hike to the Pike" proved to stand well with the ground's audiences, yet as with many pieces like this would soon forgotten after the fair's closure.
Following his time spent in St. Louis & now in his new position as a offical court clerk in training, Ed was able to only turn out just a few pieces a year. Despite a now busy lifestyle, Ed would find his new works published regardless & would even make two breaks into Broadway as three of his songs were interpolated into two stage shows. The first, "Nearly a Hero" of 1908, included his songs "I Don't Want to Marry You" and "My Sahara Belle," running for several months at a total of 116 performances. The second production, "The Echo" of 1910, included his "My Guiding Star" and ran for a shorter period of 53 performances, with both performances recieving only tepid reviews at best. Nonetheless, they would help cement Claypoole's reputation as a solid composer & help solidify his footing in Baltimore.
Becoming a local celebrity in Baltimore by the 1910s and in demand for a number of musical functions, Ed would enetr one of his most prolific periods in recent time, producing some of his biggest hits such as "Alabama Jigger", "Reuben Fox Trot", & "Ragging the Scale." Earning himself a name on the market by now with the chance of going bigtime with his music, Claypoole would actually insisted on upkeeping his position as a court clerk than taking a chance with a fad, slowing himself down in compositions once more. For his biggest hit "Ragging the Scale", he had even agreed to only a $25 payout instead of royalties, not seeing a career in music to be as fruitful in comparison to the courts.
Still with the courts in early 1920s, Edward decided to test the waters again, coming up with the clever "Dusting the Keys" which actually included a little gimmick where the player was to literally dust the keys with a cloth on their index finger in the trio. With lyrics added in short order to create a song edition of the piece, it was yet another hit, but now completely in the novelty genre with Ragtime already out of mass public popularity. Encouraged by it's success, he wrote four more piano novelties that were all readily printed up by Mills Music, a leader in the genre during the era. While very few pieces followed his Mills novelties into print, Claypoole became a popular fixture on radio programs & at live venues in the late 1920s and into the 1940s, already having graduated to his ultimate position as Deputy Clerk.
Making way into the early 50s, Edward would offically retired from music and after a remarkably strong 45 year career, from the Baltimore City courts as well. Unfortunately only seeing his retirement last a mere two years (during which he managed to pen only two more works), Claypoole would finally pass away on January 16th, 1952 at the age of 68. Serving as a fine representative in the courts as well as a rep. of popular music in Baltimore & beyond, we thankfully are left with many of his works today that continue to entertain us all. 125 years of quality music from a man of the same suit himself.
Nice upload once again!
Why thank you my good man, thank you. 😌 Been working on improving the actual quality of my compilation videos from how I had originally done them. 🪿
my god, so colorful... its beatiful, im so glad i discorvered this coposer through your channel. so glad you commented on my channel...
Glad to hear you were able to discover Claypoole and just so happen to find his music fascinating as well! Suprised that not to many people have heard of his name before. 😆 Well really, I run into those who know his music but not the composer, lol.
My favorites are 'Alabama Jigger', 'American Jubilee', 'Spooky Spooks' (one of the quintessential Halloween songs), 'Skidding', and 'Dusting The Keys'. But the best may be 'Kirmanshah,' a criticially underrated novelette. Named after a Persian city, its first theme evokes a sense of playful tranquility. But that peace is broken by the second theme, an episode in minor key that evokes a sense of urgency and an implacable feeling of uncertainty. Then the third theme is an 'oriental' 'oompah' beat, that characterizes a descending cloud of disaster. Then the second theme returns to certify this. But in the very end, the first theme is ushered back in, as if in clueless fallacy to the unseen cloud now in place above the scene. This is analogous to the time I first heard it, in Winter 2020. I was navigating through the straits of 7th Grade, unaware of the dark times of syndemic only weeks away. I felt a sense of dire circumstance had overcome the atmosphere, but I was not privy to how harrowing a turn our year would collapse into. This song would be recorded in 1919 by the Van Eps Trio.
Tis such a shame that "Kirmanshah" doesn't really get much attention out of the remainder of his works. :[
I love the way you describe it to because the piece really does paint out a scene of sorts. And don't even get me started on 2020-2021, ooo boy. 😵💫
Hope you enjoy, GavinLepley!
Indeed!
Thanks!
Why of course, you are welcome! 🌟