Charlie Matthews moved there from Illinois in 1905. Artie Matthews came from across the river in Illinois. Charlie Warfield came in 1897 when he was just fourteen. Artie Charles Hunter came from Tennessee and gained fame there. The Magic Horshoe was yet another venue.Īs ragtime’s popularity grew, the district attracted composers from nearby states. Madam Betty Rae ran a bawdy house that employed Louis “Bird Face” Chauvin and Sam Patterson. Arthur Marshall was employed at The Spanish Café. His other venue was the nearby Hurrah Sporting Club.įor his patronage, work as a publisher, and as a ragtime composer himself, Turpin earned the nickname “The Father of Ragtime.” Other venues for ragtime in the district existed too. The Rosebud also played host to many traveling musicians and was the sight of cutting contests between pianists from various locales. Turpin the younger opened two of the most famous venues for ragtime when, in 1900 (the same year he met Scott Joplin), he opened the Rosebud Bar, an enormous venue (with rented rooms upstairs) which featured many of the city’s best ragtime musicians. Turpin’s father, Honest John Turpin, ran the Silver Dollar Saloon. Georgia-born Thomas Million John Turpin, aka Tom Turpin, had strong ties to Chestnut Valley. Louis Chauvin Tom Turpin Charley Thompson Ralph Sutton in 1899, where Allen (Johnny) Britt got killed by Frankie Baker a lover’s quarrel, a crime immortalized in the song “Frankie & Johnny.” Chesnut Valley had a reputation for being so hot that supposedly cops wouldn’t set foot in it. Louis’s famed Chestnut Valley tenderloin/red light district, where sporting houses employed pianists to provide a score for their client’s various activities. Blind Boone, skipping school in the mid-1870s, did as well. Scott Joplin heard ragtime when he first arrived in St. Ragtime had, in fact, been around many years before it was commited to paper. Phelps’s “The Darkies’ Patrol,” published in 1892, is a rag - a fact noted on the sheet music by the publisher. Ragtime is usually said to have first appeared in the 1890s (when it first was published) and 1897 is usually named as the year of ragtime’s emergence. Johnson stated that he and other New York pianists would routinely appropriate sections of ragtime and improvise, unaware even of the song’s authorship, giving birth to a style known as stride. Although discouraging improvisation, James P. Scott Joplin even wrote, “Play slowly until you catch the swing,” and described the effect as “weird and intoxicating.”Īs insisted upon by “The King of Ragtime,” Scott Joplin, ragtime was meant to be played exactly as written. Although its syncopation is generally discussed as a defining characteristic, not all ragtime truly is and the term “syncopated” was applied much as “swing” was later, as a sort of shorthand for an indescribable feeling. Though ragtime is primarily written for the piano, it was also played on other instruments, notably the banjo.
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