Ah, ragtime. This, arguably America’s first homegrown musical genre, “originated on the folk level,” said Rudi Blesh and Harriet Janis, two of the earliest enthusiasts of the form, but “several outstandingly gifted composers of both races carried the music to a creative level that can only be termed classical.” Just so, and its alternating joy and poignance eventually emerged also in the finger-picking guitar style of the Piedmont Blues. “Piano ragtime was developed by the Negro from folk melodies and from the syncopations of the plantation banjos,” Blesh and Janis explain. “As it grew, it carried its basic principle of displaced accents played against a regular meter to a very high degree of elaboration.”
Of course, Scott Joplin is considered the king of ragtime, but his reputation has obscured that of many other royal ragtime composers. The first of these must be Tom Turpin (1871-1922), whose “Harlem Rag” was published in 1897, predating Joplin’s “Maple Leaf Rag” by two years. (It may have been composed as many as five years earlier.) Turpin’s bar in St. Louis, the Rosebud, was a popular meeting place for Joplin and other ragtime composers as well; in 1905 Joplin would dedicate his “Rosebud March” to Turpin. Turpin would go on to write other rags as the “Father of St. Louis Ragtime.”
Below, Ann Charters performs “Harlem Rag,” from the 1961 Smithsonian Folkways album Essay in Ragtime: Ragtime Piano Classics.