{"id":6123,"date":"2020-01-27T19:00:51","date_gmt":"2020-01-27T23:00:51","guid":{"rendered":"https:\/\/sites.temple.edu\/performingartsnews\/?p=6123"},"modified":"2020-01-27T19:00:51","modified_gmt":"2020-01-27T23:00:51","slug":"stride-the-art-of-james-p-johnson","status":"publish","type":"post","link":"https:\/\/sites.temple.edu\/performingartsnews\/2020\/01\/27\/stride-the-art-of-james-p-johnson\/","title":{"rendered":"Stride: The Art of James P. Johnson"},"content":{"rendered":"

Beyond the Notes<\/strong>
\nA Celebration of Stride and Novelty Piano<\/em>
\nWednesday, February 12th, 12:00PM -12:50PM
\nFeaturing Dr. Charles Abramovic and his studio
\nLight refreshments served. Boyer recital credit given.<\/em><\/p>\n

____________________________________________________________________________________________________________________________________<\/p>\n

\"Photo<\/a>
James P. Johnson<\/figcaption><\/figure>\n

As one of myriad styles falling under the rubric of jazz, stride is fundamentally an expression of the African American experience.<\/span>\u00a0<\/span>James P. Johnson (1894-1955) pioneered the solo piano style while composing and performing in Harlem during the 1920s.<\/span>\u00a0What follows is a brief sketch of the conventions, innovations, and social context<\/span>s<\/span> that produced it.<\/span><\/p>\n

Stride derives primarily from ragtime in form and content. Tunes comprise three or four independent, sixteen-bar sections\u00a0<\/span>or\u00a0<\/span>strains. The initial strain features the theme in the tonic<\/span>;\u00a0<\/span>subsequent strains variously treat the original material or present new ideas.\u00a0<\/span>S<\/span>ections collectively called\u00a0<\/span>the\u00a0<\/span>\u201ctrio\u201d modulate to closely related keys, typically the subdominant. Introductions and interludes of four or eight measures are\u00a0<\/span>common. Regarding content, left-hand stride patterns follow traditional dances in duple meter, notably the march and polka. Hence the bass<\/span>\u00a0often<\/span>\u00a0alternates between low notes and midrange chords<\/span>;\u00a0<\/span>the former imitates the tuba while the latter mimics the higher brass and woodwind instruments of<\/span>\u00a0marching\u00a0<\/span>band<\/span>s<\/span>, creating the oom-pah sound\u00a0<\/span>associated with\u00a0<\/span>folk music.<\/span><\/p>\n

However, stride represents an evolutionary step in the lineage of jazz, placing greater demands on the performer.\u00a0<\/span>The harmonic rhythm and tempo<\/span>\u00a0<\/span>are faster<\/span>\u00a0than those of ragtime<\/span>.<\/span>\u00a0<\/span>Stride\u00a0<\/span>also\u00a0<\/span>exploits the full range of the instrument. Finally, the style employs an array of pianistic devices, e.g., rapid scale passages, trills, and turns, suggesting that knowledge of classical idioms would be beneficial if not requisite to stride proficiency.<\/span><\/p>\n

Johnson\u00a0<\/span>infused\u00a0<\/span>blue notes and call-and-response gestures<\/span>\u00a0into<\/span>\u00a0stride<\/span>. <\/span>Furthermore, the\u00a0<\/span>rhythmic\u00a0<\/span>feel of<\/span>\u00a0his\u00a0<\/span>style\u00a0<\/span>was more relaxed than ragtime<\/span>, approximating swing<\/span>.\u00a0<\/span>H<\/span>eard in\u00a0<\/span>the\u00a0<\/span>p<\/span>aradigmatic stride piece <\/span>\u201cCarolina Shout,\u201d<\/span>\u00a0<\/span>these elements\u00a0<\/span>allowed\u00a0<\/span>Johnson\u00a0<\/span>to<\/span>\u00a0<\/span>connect<\/span>\u00a0meaningfully\u00a0<\/span>with his\u00a0<\/span>audi<\/span>tors<\/span>\u00a0at clubs and dance halls<\/span>, many of whom migrated from the Deep South<\/span>:<\/span><\/p>\n

“The dances they did at the Jungles Casino were wild and comical\u2014the more pose and the more breaks the better.<\/span>\u00a0These Charleston people and the other southerners had just come to New York. They were\u00a0<\/span>country people and they felt homesick. When they got tired of two-steps and schottisches (which they danced with a lot of spieling<\/span>), they\u2019d yell<\/span>: \u201cLet\u2019s go back home!\u201d<\/span>\u00a0<\/span>. . . or\u00a0<\/span>\u201cNow put us in the alley!\u201d I did my \u201cMule Walk\u201d or\u00a0<\/span>\u201c<\/span>Gut Stomp\u201d<\/span>\u00a0for these country dances. Breakdown music was the best for such sets, the more solid and groovy the better. They\u2019d dance, hollering and screaming until they we<\/span>re cooked. The dances ran from fifteen to thirty minutes, but they kept up all night until their shoes wore out<\/span>\u2014most of them after a heavy<\/span>\u2019s<\/span> day\u2019s work on the docks.”<\/span><\/p>\n

Johnson\u00a0<\/span>also\u00a0<\/span>cultivated the style while performing at rent parties in Harlem. Held in apartments, these informal gatherings enabled working-class tenants to\u00a0<\/span>raise additional money for rent by charging admission. Here we see\u00a0<\/span>the\u00a0<\/span>music\u00a0<\/span>of Johnson\u00a0<\/span>provid<\/span>ing<\/span>\u00a0a modicum o<\/span>f relief\u00a0<\/span>in material as well as nonmaterial ways.<\/span><\/p>\n

We invite you to join us on Wednesday, February 12, to hear stride performances by the studio of Charles\u00a0<\/span>Abramovic<\/span>. In addition to works by Johnson, the program will feature those of his contemporaries, Thomas \u201cFats\u201d Waller, Jelly Roll Morton, and\u00a0<\/span>Zez<\/span>\u00a0Confrey.<\/span><\/p>\n

Consult the following sources for more information:<\/span><\/p>\n

Barnhart, Bruce. \u201cCarolina Shout: James P. Johnson and the Performance of Temporality<\/span>.\u201d\u00a0<\/span>Callaloo<\/span><\/i>\u00a033, no. 3 (Summer 2010):\u00a0<\/span>841-856.<\/span><\/p>\n

Berlin, Edward A. “Ragtime.”\u00a0<\/span>Grove Music Online.<\/span><\/i>\u00a016 Oct. 2013; Accessed 26 Jan. 2020.\u00a0<\/span>https:\/\/www-oxfordmusiconline-com.libproxy.temple.edu\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-1002252241<\/span>.<\/span><\/p>\n

Martin, Henry. \u201cBalancing Composition and Improvisation in James P. Johnson\u2019s \u2018Carolina Shout.\u2019\u201d\u00a0<\/span>Journal of Music Theory<\/span><\/i>\u00a049, no. 2 (Fall 2005): 277-299.<\/span><\/p>\n

Robinson, J. Bradford. “Stride.”\u00a0<\/span>Grove Music Online.<\/span><\/i>\u00a02001; Accessed 20 Jan. 2020.\u00a0<\/span>https:\/\/www-oxfordmusiconline-com.libproxy.temple.edu\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000026955<\/span>.<\/span><\/p>\n

Rouder<\/span>, Willa. “Johnson, James P(rice).”\u00a0<\/span>Grove Music Online.<\/span><\/i>\u00a02001; Accessed 24 Jan. 2020.\u00a0<\/span>https:\/\/www-oxfordmusiconline-com.libproxy.temple.edu\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000014409<\/span>.<\/span><\/p>\n

 <\/p>\n

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.<\/span><\/i>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Beyond the Notes A Celebration of Stride and Novelty Piano Wednesday, February 12th, 12:00PM -12:50PM Featuring Dr. Charles Abramovic and his studio Light refreshments served. Boyer recital credit given. ____________________________________________________________________________________________________________________________________ As one of myriad styles falling under the rubric of jazz, stride is fundamentally an expression of the African American experience.\u00a0James P. Johnson (1894-1955) pioneered […]<\/p>\n","protected":false},"author":18274,"featured_media":6101,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"cybocfi_hide_featured_image":"","footnotes":""},"categories":[100,1],"tags":[87,88,9,83,96,72],"coauthors":[132],"class_list":["post-6123","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-beyond-the-notes","category-uncategorized","tag-beyond-the-notes","tag-concerts","tag-music","tag-noontime-concert-series","tag-piano","tag-top-news"],"yoast_head":"\nStride: The Art of James P. 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