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Scott Joplin : Richard Zimmerman – Scott Joplin: His Complete Works
Label: Murray Hill Records – 931079
Format: 5 × Vinyl, LP, Compilation
Box Set
Country: US
Released: 1974
Genre: Jazz
Style: Ragtime
Label: Murray Hill Records – 931079
Format: 5 × Vinyl, LP, Compilation
Box Set
Country: US
Released: 1974
Genre: Jazz
Style: Ragtime
Tracklist
A1
Please Say You Will (1895)
2:12
A2
A Picture Of Her Face (1895)
2:48
A3
The Crush Collision March (1896)
3:19
A4
Harmony Club Waltz (1896)
6:04
A5
Combination March (1896)
3:15
A6
Original Rags (1899)
4:58
B1
Maple Leaf Rag (1899)
3:08
B2
Swipesy - Cake Walk (1900)
3:25
B3
Sun Flower Slow Drag (1901)
4:10
B4
Peacherine Rag (1901)
3:34
B5
The Augustan Club - Waltzes (1901)
4:55
B6
The East Winners (1901)
3:57
B7
Cleopha (1902)
3:33
C1
The Strenuous Life (1902)
3:43
C2
I Am Thinking Of My Pickaninny Days (1902)
2:15
C3
The Ragtime Dance (1902)
4:55
C4
The Breeze From Alabama (1902)
4:38
C5
Elite Syncopations (1902)
3:50
C6
March Majestic (1902)
2:50
D1
The Entertainer (1902)
4:20
D2
Something Doing (1903)
3:45
D3
Weeping Willow (1903)
5:12
D4
Little Black Baby (1903)
2:15
D5
Palm Leaf Rag (1903)
4:20
D6
The Favorite (1904)
3:45
D7
The Sycamore (1904)
4:03
E1
The Cascades (1904)
3:18
E2
The Chrysanthemum (1904)
5:07
E3
The Rosebud March (1905)
2:55
E4
Bethena (1905)
6:07
E5
Leola (1905)
3:57
E6
Sarah Dear (1905)
2:09
E7
Binks Waltz (1905)
3:45
F1
Eugenia (1906)
4:55
F2
Antionette (1906)
2:28
F3
Snoring Sampson (1907)
2:45
F4
Gladiolus Rag (1907)
4:30
F5
Searchlight Rag (1907)
4:00
F6
The Nonpareil (1907)
3:30
F7
When Your Hair Is Like The Snow (1907)
1:57
G1
Rose Leaf Rag (1907)
4:42
G2
Heliotrope Bouquet (1907)
4:45
G3
School Or Ragtime (1908)
1:50
G4
Fig Leaf Rag (1908)
4:30
G5
Sugar Cane (1908)
4:15
G6
Pine Apple Rag (1908)
3:56
G7
Wall Street Rag (1909)
4:18
H1
Solace (1909)
6:11
H2
Pleasant Moments (1909)
3:00
H3
Country Club (1909)
3:55
H4
Paragon Rag (1909)
4:07
H5
Euphonic Sounds (1909)
3:57
H6
Stoptime Rag (1910)
2:41
H7
Felicity Rag (1911)
3:22
I1
Highlights From "Treemonisha" (1911)
16:55
I2
A Real Slow Drag (1913)
5:14
I3
Prelude To Act 3 (1911)
3:49
I4
Frolic Of The Bears (1915)
4:54
J1
Lovin' Babe (1911)
3:20
J2
Scott Joplin's New Rag (1912)
3:18
J3
Kismet Rag (1913)
3:40
J4
Magnetic Rag (1914)
4:26
J5
Reflection Rag (1917)
5:00
J6
Silver Swan Rag (Unknown)
4:00
J7
Lily Queen (1907)
3:10
J8
Sensation - A Rag (1908)
2:40
Credits
Composed By, Arranged By – Scott Joplin
Piano – Richard Zimmerman
Notes
Illustrated Booklet Enclosed.
Barcode and Other Identifiers
Matrix / Runout (record 1, side A): MH 931079 Rec A re 1
Matrix / Runout (record 1, side B): MH 931079 Rec B re-2
Matrix / Runout (record 2, side A): MH 931079 Rec 2A re-1
Matrix / Runout (record 2, side B): MH 931079 Rec 2B re-1
Matrix / Runout (record 3, side A): MH 931079 Rec 3A re-1
Matrix / Runout (record 3, side B): MH 931079 Rec 3B re-1
Matrix / Runout (record 4, side A): MH 931079 Rec 4A re-1
Matrix / Runout (record 4, side B): MH 931079 Rec 4B re-2
Matrix / Runout (record 5, side A): MH 931079 Rec 5A re-2
Matrix / Runout (record 5, side B): MH 931079 Rec 5B re-1
Illustrated Booklet Enclosed.
Barcode and Other Identifiers
Matrix / Runout (record 1, side A): MH 931079 Rec A re 1
Matrix / Runout (record 1, side B): MH 931079 Rec B re-2
Matrix / Runout (record 2, side A): MH 931079 Rec 2A re-1
Matrix / Runout (record 2, side B): MH 931079 Rec 2B re-1
Matrix / Runout (record 3, side A): MH 931079 Rec 3A re-1
Matrix / Runout (record 3, side B): MH 931079 Rec 3B re-1
Matrix / Runout (record 4, side A): MH 931079 Rec 4A re-1
Matrix / Runout (record 4, side B): MH 931079 Rec 4B re-2
Matrix / Runout (record 5, side A): MH 931079 Rec 5A re-2
Matrix / Runout (record 5, side B): MH 931079 Rec 5B re-1
RECORD PLAYS EX+ > NM
COVER IS VG+ > EX, light foxing to box edges
(EXAMPLE NOT ACTUAL)
https://www.youtube.com/watch?v=z86Hs7gm0tU
----------------------------------------------
FYI
Jazz is a genre of music that originated in African American communities during the late 19th and early 20th century. It emerged in many parts of the United States in the form of independent popular musical styles, all linked by the common bonds of African American and European American musical parentage with a performance orientation. Jazz spans a period of over 100 years and encompasses a range of music from ragtime to the present day, and has proved to be very difficult to define. Jazz makes heavy use of improvisation, polyrhythms, syncopation and the swung note, as well as aspects of European harmony, American popular music, the brass band tradition, and African musical elements such as blue notes and ragtime. The birth of Jazz in the multicultural society of America has led intellectuals from around the world to hail Jazz as "one of America's original art forms".
As jazz spread around the world, it drew on different national, regional, and local musical cultures, giving rise to many distinctive styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, bluesy, improvisational style and Gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music towards a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.
The 1950s saw the emergence of free jazz, which explored playing without regular meter, beat and formal structures, and in the mid-1950s, hard bop, which introduced influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other jazz styles include Afro-Cuban jazz, West Coast jazz, ska jazz, Indo jazz, avant-garde jazz, soul jazz, chamber jazz, Latin jazz, jazz funk, loft jazz, punk jazz, acid jazz, ethno jazz, jazz rap, M-Base, spiritual jazz and nu jazz.
Prominent jazz musician Louis Armstrong observed: "At one time they were calling it levee camp music, then in my day it was ragtime. When I got up North I commenced to hear about jazz, Chicago style, Dixieland, swing. All refinements of what we played in New Orleans... There ain't nothing new." Or as jazz musician J. J. Johnson put it in a 1988 interview: "Jazz is restless. It won't stay put and it never will."
Jazz has proved to be very difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years, from ragtime to the present day. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing'", involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician".
A broader definition that encompasses all of the radically different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard has provided an overview of the discussion on definitions, arguing that "jazz is a construct" that, while artificial, still is useful to designate "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to the efforts of commentators and enthusiasts of certain types of jazz, who have argued for narrower definitions that exclude other types, the musicians themselves are often reluctant to define the music they play. As Duke Ellington, one of jazz's most famous figures, said: "It's all music".
Importance of improvisation
Although jazz is considered difficult to define, improvisation is consistently regarded as being one of its key elements. The centrality of improvisation in jazz is attributed to influential earlier forms of music: the early blues, a form of folk music which arose in part from the work songs and field hollers of the African-American workers on plantations. These were commonly structured around a repetitive call-and-response pattern, but early blues was also highly improvisational. European classical music performance is evaluated by its fidelity to the text, with discretion over interpretation, ornamentation and accompaniment: the classical performer's primary goal is to play a composition as it was written. In contrast, jazz is often characterized as the product of group creativity, interaction, and collaboration, which places varying degrees of value on the contributions of composer (if there is one) and performers. In jazz, the skilled performer will interpret a tune in very individual ways, never playing the same composition exactly the same way twice: depending upon the performer's mood and personal experience, interactions with other musicians, or even members of the audience, a jazz musician may alter melodies, harmonies or time signature at will.
Although jazz is considered difficult to define, improvisation is consistently regarded as being one of its key elements. The centrality of improvisation in jazz is attributed to influential earlier forms of music: the early blues, a form of folk music which arose in part from the work songs and field hollers of the African-American workers on plantations. These were commonly structured around a repetitive call-and-response pattern, but early blues was also highly improvisational. European classical music performance is evaluated by its fidelity to the text, with discretion over interpretation, ornamentation and accompaniment: the classical performer's primary goal is to play a composition as it was written. In contrast, jazz is often characterized as the product of group creativity, interaction, and collaboration, which places varying degrees of value on the contributions of composer (if there is one) and performers. In jazz, the skilled performer will interpret a tune in very individual ways, never playing the same composition exactly the same way twice: depending upon the performer's mood and personal experience, interactions with other musicians, or even members of the audience, a jazz musician may alter melodies, harmonies or time signature at will.
(THIS PICTURE FOR DISPLAY ONLY)
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