Music History – Old Magazine Articles

Duke Ellington: Twenty Years in the Spotlight
(Click Magazine, 1943)

The top man in Negro music climbed on the bandwagon when he and his band played a hot spot called the Kentucky Club. That was twenty years ago, in New York City’s Harlem. This year, Duke Ellington (1899 – 1974) made another debut, at Carnegie Hall, goal of the great in music…Piano lessons bored Ellington when he was six years old. He never learned to play conventionally, but he was only a youngster when his flare for improvisation reaped attention and landed him a job in a Washington theater…one by one, his compositions hit the jackpot: ‘Mood Indigo’, ‘Sophisticated Lady’, ‘Ebony Rhapsody’, ‘Solitude’, ‘Caravan’.

Ellington calls his work Negro Music, avoids the terms ‘jazz’ or ‘swing’.

Eric Satie Goes After the Critics
(Vanity Fair, 1921)

There is little doubt that the French Composer Eric Satie had wished that the bellyaching dilettantes who were charged with the task of writing music reviews for the Paris papers had spent more time in school in order that they might show greater erudition in their writings. However, Satie recognized that we can’t change the past and so he took his critics out to the woodshed with this column.

Erik Satie and Les Six
(Vanity Fair, 1921)

This article was written by Erik Satie as a salute to six unique French composers who had been working in Montparnasse during the previous years.

To me, the New Spirit seems a return to classic form with an admixture of modern sensibility. This modern sensibility you will discover in certain ones of the Six -George Autic (1899 – 1983), Francis Poulenc (1899 – 1963), Darius Milhaud (1892 – 1974)…

‘Porgy & Bess”
(Stage Magazine, 1935)

Music critic and scholar Isaac Goldberg (1887 – 1938) reviewed the opening performance of George Gershwin’s Porgy and Bess for the editors of STAGE MAGAZINE:

Why the Jew of the North should, in time, take up the song of the Southern Negro and fuse into a typically American product is an involved question. Perhaps, underneath the jazz rhythms and the general unconventionality of musical process lies the common history of an oppressed minority, and an ultimately Oriental origin. In any case, the human focus of this particular type of musical Americanism has been, from the very first notes, George Gershwin.

George Gershwin: Tin Pan Alley and Beyond
(Magazine of Art, 1937)

An interesting two page article about George Gershwin (1898 – 1937), written within days of his death and filled with fascinating bits about his career, education and his instant popularity:

The Gershwin invasion of Tin Pan Alley came at a time when history was being made. The Broadway-Negro tradition that stemmed from Stephen Foster and the anonymous tune-smiths who wrote old minstrel shows, was being carried on by bards like Paul Dresser, Harry von Tilzer, and the amazing Witmark family. Jerome Kern and Irving Berlin labored in the Alley cubicles. Something called ragtime was in the air and jazz was about to be born.

Leonard Bernstein
(Newsweek Magazine, 1945)

This Leonard Bernstein (1918 – 1990) profile is a real page turner – briefly explaining in four and a half pages all that this composer and conductor had been up to during the first thirty-eight years of his very productive life. The article appeared on the newsstands during the earliest days of 1957, when he was partnered with Stephen Sondheim on West Side Story and mention is made of his numerous other collaborations with the likes of Jerome Robbins (Fancy Free),
Comden and Green (On the Town), and Lillian Hellman (Candide).

What is Boogie-Woogie?
(The Clipper, 1941)

A 1941 article by the screenwriting, piano playing novelist Eliot Paul (1891-1958) who put-forth a sincere effort to define that popular 1940s music known as Boogie-Woogie.

Paul went to great lengths explaining the roots of Boogie-Woogie, the origin of the term and the finest performers and composers of the music:

First, one can say that Boogie-Woogie is an authentic, soul-satisfying genre of piano music, native to America and for which America is indebted to the Negro people…If you ask Al Ammons (1907 — 1949), one of the foremost exponets of boogie-woogie, what boogie-woogie is, he would smile, his eyes would light up, and probably he would say:

‘Man! It scares you‘

-and it does. There are deep reasons why it tugs at our memories and slumbering instincts.

Remembering George Gershwin and ‘Rhapsody in Blue’
(Creative Art Magazine, 1937)

By clicking the blue title link above, you will be treated to a postmortem appraisal of the American composer George Gershwin (1898 – 1937). The article was written by one of his contemporaries; Gershwin is admired in this article, but not idolized:

No one could have been more surprised than George Gershwin at the furor the Rhapsody caused in highbrow circles. He had dashed it off in three weeks as an experiment in a form that he only vaguely understood. In no sense had he deliberately set out to make an honest woman out of jazz.

Glenn Miller
(Coronet Magazine, 1954)

Ten years after the death of Big Band legend Glenn Miller (1904 – 1944), it was found that his record sales were going through the roof at 16,000,000 per annum, and Hollywood had attempted to cash-in on his memory by releasing a (bland) Technicolor bio-pic, appropriately titled, The Glenn Miller Story(Universal) – with Jimmy Stewart starring in the title roll. The band leader’s popularity was obvious to everyone in 1944, when he was killed in the war, but no one could have predicted this.

Ignaz Paderewski
(Stage Magazine, 1939)

Here is an article on the last American concert tour of Polish pianist (and composer, diplomat and politician) Ignaz Jan Paderewski (1860 – 1941). The article concentrates on the amount of money pulled-in by the performer, both on this tour as well as previous ones; his legendary generosity and his monumental reputation.

Click here to read more about Paderewski and other pianists of 1915…

Click here to see what the first car radios look like.

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.

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.

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.

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…

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.

Giacomo Puccini
(Vanity Fair, 1915)

A two page profile of the fifty seven year-old opera composer, Giacomo Puccini (1858 – 1924). Published at a time when his most popular work was behind him, the article centers on the composer’s career; from Puccini’s first opera, La Ville (1884) to his most recent, The Little Wooden Shoes.

Irving Berlin
(Stage Magazine, 1938)

Here is an article that discusses the surprising relevance that the music of Irving Berlin (1888 – 1989) was playing in the American music world of the 1930s.

Click here to read about Irving Berlin’s theatrical production during W.W. I…

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.