At last the
project is off my "to do" list. Now it will go out into that
vast ocean of commercially questionable works by artists who spend
most of their time in the trenches, pursuing some long lost form of
art in an attempt to tease something new out of it. I hope the
result of these trials will reflect the deep personal relationship
I've had with this kind of music over the years. While the
pieces are new and contain some modernisms which are a product of
our own contemporary musical environment, I've always kept an eye on
the traditions behind the music, not out of misplaced reverence for
those traditions, but because the American experience is delivered
to the listener through them. At last I've learned to hear (and
demand!) them, and they send me to another place with all the
scenery, smells and emotions that are part of history, for better
and for worse. It is very much a part of what I want to get
when I listen to, compose, and play music. The depth helps us
know and understand where we are now. (see, I've listened to
way too much Ragtime and early jazz.)This album should be of interest to purveyors of Ragtime, Stride
and Barrelhouse, and to those (both locally, and in places I've never
been) who have somehow found it in their interest to support my
efforts. I'm very thankful for that, and it gives me a sense of
community and, the comfort of knowing that this music will be
understood deeply and completely, albeit by a relatively small number
of practitioners and aficionados. I expect I'll make hundreds when
all is said and done.
There are plenty of flaws and blemishes, a bit of recklessness,
and a "let it fly" approach that got me out of the editing room and on
my way in short order. I think this approach works best in the
end. Fussing and re-doing dulls the senses. It's usually
best the first time anyway.
The mix of styles may seem schizophrenic. It indicates my
effort to understand the nature and quality of the various Ragtime
styles, new and old. Some sound more mid-western and
folk-like, with simple but haunting melodies and the rhythmic
strumming characteristics so common to some of the oldest Rags.
Others bend the rules with the aforementioned modernisms. One
is an homage to
Cow
Cow Davenport, whose playing had a rough-edged beauty that I still
find evocative, poignant and powerful. others are Stride
burners.
Atomic Shuffle is a Novelty Rag with the simple tempo marking of "Fast".
It should be played as if one's hair is on fire. Ever After
Rag is crafted with the Classic Ragtime composers in mind. (Not even close, but there it is).
Another never received a title.
Anticipating that a title will eventually occur to me, the heading
space had a lightly penciled entry: "What is it?" I decided to just let it go. And in case you're wondering, Feltchville
is close to where I live. They used to make a lot of shoes
there, back in the Ragtime Era I suppose.
Galen's Motto was written as a challenge from Galen Wilkes.
Several composers and ragtimers were invited to complete a strain of
ragtime based on a three or four measure theme he had sent to us all.
We gathered before an audience (at the short-lived Niantic Ragtime
Festival) and presented, played and discussed the results. I
can't find anyone else who remembers that. My theme eventually
became a whole package.
Queen of Violets, perhaps the best Rag here, is not mine.
Thanks must go to my esteemed friend and fellow composer Glenn Jenks
for setting the bar so high. I enjoyed every second of practice
with this piece, which is saying a lot; I prefer to play, not
practice. Please enjoy.
Recorded at PBS Studio by Peter Kontrimas in Westwood, MA
All compositions by Ross Petot (except Queen of Violets, composed by
Glenn Jenks.)
