Joseph Lamb’s “The Ragtime Nightingale” (originally published by John Stark in 1915 as “Nightingale Rag”) is among the most popular of this classic ragtime composer’s works, its lilting birdlike sonorities a light but exemplary example of the form. Lamb, along with Joplin and James Scott, is considered one of the masters of piano ragtime composers, but he was in some ways an outlier, hailing from the East Coast rather than from the Midwest (he was born in Montclair, NJ, in 1887 and died in Brooklyn in 1960; of Irish descent, he was one of the few white composers of classic ragtime). He remained in obscurity from the decline of ragtime in the 1910s until the 1950s, when he was rediscovered; the Folkways album Joseph Lamb: A Study in Classic Ragtime features the composer playing his own work and discussing his career.
Despite his location and background, Lamb was entranced by the work of Scott Joplin and in 1907 travelled to St. Louis to meet the composer. Joplin himself was impressed by Lamb’s music and encouraged John Stark, his own publisher, to issue Lamb’s rags; Stark did so, and published most of Lamb’s output through the following ten years. Joplin also generously suggested an “arranged by” credit on Stark’s first publication of a Lamb rag, “Sensation,” believing that his own name on the sheet music cover would increase sales of the piece.
In the 1978 Rags & Ragtime: A Musical History, David Jasen and Trebor Tichenor compare and contrast Joplin’s compositional style with Lamb’s:
The strength of Joplin’s ideas in ragtime is best exemplified by the rags of Joe Lamb. Rags written before 1907 (which is to say before he became aware of the Joplin rags) … show a rather mediocre attempt at composing rags, using all of the overworked devices of the cakewalk, Popular rag and song. From the twelve works published between 1908 and 1919, we find that his rags are more predictable, as he synthesized the Joplinesque legato melody style with Scott’s expansive keyboard work. Then, Lamb replaced Joplin’s phrase structure, making the first half of a section contrasting rather than parallel. He also avoided the short, motivic phrasing of James Scott, but used Scott’s echo effect and rhythmic exuberance. Among Lamb’s greatest original stylistic features are his use of sequences for developmental purposes and his diversity of texture, not only from light to heavy rags, but from section to section and even phrase to phrase. …
Ted Tjaden looks more deeply into Lamb’s career here. Along with the Folkways album above, there have been a few other significant recordings of Lamb’s music. I highly recommend Guido Nielsen’s 1998 recordings of The Complete Stark Rags; below, Joshua Rifkin performs “The Ragtime Nightingale,” from the Decca album Rags & Tangos, issued in 1991.