Music History

John Philip Sousa: The March King (The Literary Digest, 1897)

This 1897 profile of composer John Philip Sousa (1854 – 1932) was written shortly after his triumphal return from Queen Victoria’s Jubilee, where he was feted like a native son for all his glorious march compositions – particularly The Washington Post March, which was performed while her household infantry passed in review:

There is probably no composer in the world with a popularity equal to that of Mr. Sousa. Tho he sold his ‘Washington Post’ march outright for $35.00, his ‘Liberty Bell’ march is said to have brought him $35,000…At the age of twenty-six Mr. Sousa became the leader of the United States Marine Corps Band. In the twelve years of his leadership,he developed this unimportant organization into one of the best military bands in the world.

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The Musicians Duke Ellington Admired (Coronet Magazine, 1951)

Of all the jazz musicians who link yesterday’s ragtime with today’s dance music, Duke Ellington is the dean. In his 27 years as a pianist and composer, the Duke has played alongside every great brass, reed, and rhythm man of his day. Now he picks those music makers who, ‘on the basis of their over-all contribution, their all-time record, consistently good performance, and love of music,’ constitute 1951’s All-American jazz band.

Duke Ellington made a list of his favorite eleven musicians; some of the names may surprise you.

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Benny Goodman, The King of Swing, on Park Avenue (Stage Magazine, 1938)

To mark the momentous occasion of Benny Goodman and his Band performing for the ‘corsage clique’ on Park Avenue in 1938, ‘the King of Swing’ wrote this short essay concerning all his good work and the enjoyment that it brought to the Jitterbuggers of the world:

Swing is violent, at least so they tell me. But I’m willing to bet that Society is going to toss aside its toppers and tippers and really cut loose. They’ll all come slumming and stay for dancing.

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Igor Stravinsky and the Player Piano (The Independent, 1925)

Igor Stravinsky (1882 – 1971), acclaimed as the most distinguished, if not the greatest, of living composers, now sojourning in America after an absence of ten years, ardently advocates and practices the composition of mechanical music – of not merely piano music, that is, which can be played on an automatic instrument, but music composed without purpose of performance by hand, designed for the player-piano solely, and intended to take advantage of characteristics and limitations inherent in an instrument operated by a perforated roll of paper.

There is anew polyphonic truth in the player-piano. There are new possibilities. It is something more. It is not the same thing as a piano…

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The Feuding Dorsey Brothers (Coronet Magazine, 1947)

Brought up in Pennsylvania, Tommy and Jimmy Dorsey had a harsh taskmaster in the form of their father:

Thomas Dorsey was a self-taught musician who earned $10 a week in the coal mines and a few dollars extra by giving music lessons. When Thomas Francis Dorsey [his second son] was born in 1905, the father made up his mind that his sons would be musicians, or else!

While still in knee-pants, both learned all the wind instruments before specializing in the saxophone and trombone, respectively… The boys mother, Tess Langton Dorsey, often was distressed by her husband’s rigid disciplining of her sons. To miss a day’s practice meant a licking.


Inasmuch as the Dorsey brothers may have been united in their efforts to please their father, their union ended there. Much of the article pertains to their opposing temperaments and the skyrocketing career that both enjoyed as a result of their mutual desires to out-do the other. It wasn’t until the old man’s death in 1942 that their competition subsided.

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Lena Horne (Collier’s Magazine, 1943)

Widely seen mid-way through the year 1943 was this COLLIER’S MAGAZINE profile of singer Lena Horne (1917 – 2010) who impressed the the West-coast press corps in the same way she did the ink-stained wretches of the East:

When she was sixteen she was in the chorus at the Cotton Club in Harlem, getting that job through her mother who was then playing in-stock at the old Lafayette Theater on Lenox Avenue… Her name up to then was Helena Horne, but Barney [Josephson] ruthlessly dropped the added letters. He also taught her a great deal about using her personality in her songs.

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The Saucy Ada Leonard and Her All-American Girl Orchestra (Yank Magazine, 1943)

One of the most popular women’s group of the 1940s was Ada Leonard and Her All-American Girl Orchestra; few were surprised to hear that they were first girl band to be signed by the USO when America entered W.W. II. Sired by two vaudevillians, Ada Leonard (1915 – 1997) briefly toiled as a stripper in Chicago nightclubs before embarking on her career in music.

This interview displays for the readers her salty, fully-armored personality and her disgust concerning the total lack of glamor that accompanies USO shows, topped-off by a photo of her pretty face.


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