IT0 P-TI F a l l 1 9 9 8 T rac ing U.S. B lack V e r n a c u l a r M u s i c a l S t y l es Center fo r Black Music Research, Columbia College Chicago

Stop-Time Starts general public about our nation's most important forms of expressive culture.

Project Stop-Time's educational focus is directed at a generation of

Center for Black Music Research Launches Project Stop-Time Americans who have grown up without

BY GUTHRIE RAMSEY JR. a full knowledge of their cultural her- itage. "An entire generation of young

W people," Samuel A. Floyd Jr., director

ith the debut issue of the Stop- ences, and interconnections of Afro- of the CBMR, stated in a recent Time! newsletter, the Center Caribbean and U.S. black music, Chicago Tribune article about the pro- for Black Music Research of Project Stop-Time will celebrate ject, "are growing up without important Columbia College Chicago African-American popular knowledge of our

moves into yet another exciting ven- musical traditions of the twenti- nation's cultural histo- ture: Project Stop-'Iime. Following the eth century. During the next ry and a clear sense of hugely successful and critically three years, Project Stop-Time that history. They lack acclaimed Project Kalinda, which will have several components, dwwlrd flw of th b w l e d g e about the focused on musical traditions, influ- each designed to educate the 'musk seems to s@# cultural histories of the

suspended irr a neighborhoods, cities, rhyChmlc unison, whk and states in which

an improvlokrg they live. Even in col- Sr#ONmsnt;rlirt~ lege classes, teachers

jrgar@- - find that most students have no knowledge of jazz figures such as Louis Armstrong and Duke Ellington, for

~xample, ..Jr of their immense contri- butions to American music, American culture, and world culture." Project Stop-Time seeks to fill this unfortunate void through programs that educate as they entertain.

Ensemble Stop-Time is the heart and soul of the project. This is not a "band" but a collection of sixteen musicians that embraces a variety of

Future issues of Stop-Time! will present feature articles about some of Chicago's music and musicians. Pictured above is one of Chicago's great boogie-woogie bands, Albert Ammons and His Rhythm Kings. Ammons, a Chicago-born boogie-woogie pianist, performed at venues throughout the U.S. as a soloist and with various bands before forming his own sextet, the Rhythm Kings, in 1934. The Rhythm Kings are shown here at the Original Club Delisa (5516 South State Street), where they served as the house band from 1935 to 1937. The band includes Jimmy Hoskins on drums, Guy Kelly on trumpet, Del Bright on clarinet and sax, Ammons on piano, Ike Perkins on guitar, and lsreal Crosby on bass. Photo: Paul Edward Miller Collection, Center for Black Music Research Library and Archives.

performing media, including solo, duo, quintet, septet, and big band jazz instrumentations. Comprised of some of Chicago's leading professional musicians, (continued on page 2)

Stop-Time Starts. Ico~rinwdfim gage 13 &ti Emmble will perform the en& range ,ef Afrlm-American popular mu&, fram spirituals, blues, md rag- time, to gospel, RM3, and hip hog.

Ensemble StupTme will fmcti~n in several capacities, mast impamfly*

' . . &oBct Stop /me Advisory ,_rtqmittee and Ensemble Thehe Center for Blmk -sic Research afld Project S t o ~ - ~ r n e announce the par- ticipati9n of the following Project Stop- Time Advisory

Committee members and Ensemble Stop-Time musicians. Each individual brines a sinrmlar ex~ertise to the collec-

through a serie~ d eigkteefi lwture- ' prform-a dmigned f~ identify adh . ho11stlrftt~ tbe3 e ~ 1 L t € i 0 8 ~ d @ d ~ p - mat af thew and o b styles of black popular music, Tbe lecmeerfor- ;' matrm will take place duriagthefid. two years sf the three-year project h ,

venues such a Chicago pub3io ~ehwla

Ensemble StopTim in reMml--drr' %own, Andy taodrkh, and Kenny Clark. 2hto credBtr flpe Kusd

and mltural centers md will highlight some of the w,erld% grmtsst music* ~mwdwbiohavas~sedmdper- formed by musicians who were tdned md h a : t e d in ~hhgo ' s schools? the- a&n, and night clubs.

Addionally, Ensemble Stop-Time wiIl host five workshops in a ~e lwta l Chicap high school. &&t:rnBle mem- hem will canduet dernomtratii~n and discussion smilsns centered wound mud& MWZT wefitid ta popular mu&. The w ~ h ~ p ~ ~ ea& concen- trating o; a singb ~ q u e , are designed to give participants hands-on tmbbg, exposing &em to ssme of the basics, im11fdmg riffs and v- wII and mqonse, harmonic tuma~c)&,

ttte blues d e , and impartant chord pro~ssims a;nd d e r ~ ~ n i c fornos.

The Meaning of "Stop-Time" Tlze pjw's prov~tive name, Stop- Time, begs explaultttim. 'The ern^" Floyd explains, "refers ta a musical device in which the f'smard flow d the

Commissio~er, Chicago, and President, Northeast Ptanning Commission, Illinois

Randall M. Johnson Interim Dean of Career Programs, i J M ~ n i v e r s i G of illinois at Chicaqo Malcolm X College, chicago

ning

Fred C. Matthews III Ensemble Stop-Time Vice President of Community Relations, YMCA of Metropolitan Chicago, and T. 5. Galloway, Coordinator and Music Director Executive Director, Duncan YMCA, Chicago

4 Stephen E. Berry, trombone

Sterling Plumpp Mwata Bowden, saxophone, clarinet Professor of African-American Studies and English,

se very important individuals. Larry Bowen, trumpet University of Illinois at Chicago Brown, saxophone, flute, darinet

Robert Pruter Ken Chaney, keyboards

R&B Editor, Goldmine, and writer,

Tabatha Russell-Koylaa Center Director, Chicago Park Di South Shore Cultural Center

muie stops, or seems to stop, suspend- ed in a rhythmic unisan, while in some cases an impmvising hstnrmentalist or singer continua with the forward flow of the meter and tempo* $mh stop-time mment$ are sometima m p M 9 cre- ating an illushn of starting and stop ping as, for example, in Scott J~plin's 'Tha Ragtime Dancev and Jelly Roll Morton's 'Eng W r StompPgM

Variations of the stop-time tmh- nique can he found in most Af@can- Am&m popular dusie, When it is mployed, time seems suspended, and the listener's attention is drawn to thege passages., M l y R&B rwrdings used. the Wbnique to erawd m.sic_aI or m- rative infonnaQon inm the pedor- made& In jazz, wl~isls &n per- folnaecd fheir most impressive and semantically rich xiEs and runs during a s@p-time pause. Chariie Pwker's fmaus altp, ~ s o p h m ~ ; break an Dizzy Gillespie's "A Night hl Tunisia" edmdies a definitive stop-time m o m t that many believe to be m e of the finest worded impr~visati~ns in jazz history, During the 19;60s and 1 87ikf mu1 singers arrd their bands often '"broke downw .a song m show just how mpressive @ey mdd.be. When . the pup 's leader shvukd, "let's give the dnrtnmer some," the 'band% prima- ry timekmp~r was $xptx%& to be on his ar her mettle, r d y to strut his w her stuff at fhe drop of a hat, Audiences respodW in kind, showing their appr~val of these rich md o h mo- tianal. moments &ugh their cheer$ and applause. Thtx-e: breaks, a;s tbey are informally called, even impired devel- opments in early form of mp and hip-hop musk. It is for

technique will play a central rote iil

Major Perfonnances Ensemble Stop-Time will conclude each of the f i t two yews of th& thrw- year project with major perf-- at Chicago mueert mnues. WQ brt,adcas@ of the concerts will be pre- senteal on WBEE 1570 AM and Columbia CoIlege's WCRX W o 88.1 W. Schdula i d a m o n for both .the eonaxts an8 broadszasta will appmr in fbm issues of Srop-Wf

And, m Pse Stop-Time lee-, pafo-ces, mi workshops will add depth to the pqject, Stop-Tm jazz tours will add bred&, ~h i f the fovr ~ W B , scheduled ;Ear the ha1 year of the projmt, will combine a lecture, dis- euwion, and dbmr with a tom of and coneert in one of Chicap's music . venues. The tom will be hosted by , Chicago jez musieim and seb1ws ', and will indude fescn~&ions of zkus t

music, history, and peffmers df- ed with each laeation. ' ,

Chicago's mtribwtions to A m d m pp1ar musical traditions have h n far-ma chin^. Mmg of the .

~tyltts, &cfvliqum, rrnd pe r fom= . practim that will be highlighted in . Ensemble Stop-Tie pmentatiahs and workshups have been defined by the city's premiere musicians, and future issues of Stop-Time)! will provide %a- ture stori~s an mrne of them musi- eians, Weir music, and the venues in which they @@. b j t W Stq- Time will oEtx Chicago an oppartunity to hear an8 experience some of this rich history k t band, mtmdin$ one of the Center for BIak Music Research's prime objdwetx: to promote and dvmce knawl- about black music of the ~merizas.

~bmlall ~dmron interim Dean of ereer PrOglifmr, hbidnr X CdkgeL C & k L a d Maze1 5tawvar$, Reglon Three Eck%tbn OHcw wfth the ChSw

Publk Ulodr, lsDth

Columbia College Cbicago 600 South Michigan Avenue

Chicago, IL 60605-1996

or call (3 12) 344-7559, f a 012) 344-8 or e-mail cbmr@popmail.coIum.&: -

Visit our home page at http://www.colum.edu~cbmr/

c o L @ a A

. C 0 ~ C O n e g e ~ c a g o

T. S. Galloway: Project Stop-Time Coordjnator and Music Director

T. S. Galloway is the Coordinator and Music Director of Project Stop-Time. A trombonist and native Chicagoan, Galloway

brings to this post both expertise and experience. He attended Chicago's DuSable High School, where he was taught by Walter Dyett, the renowned band director. He received his bache- lors degree from Roosevelt University and began his professional career with the Red Saunders Orchestra, which held court at Chicago's historic Regal Theater from 1965 to 1967. After an association with the Sherman House Orchestra during 1967-68, Galloway joined the Count Basie Orchestra and toured extensively until 1970. In the early 1970s, Galloway began to free- lance in Chicago's recording studios, maintaining his associations with some of the most influential organizations of the times, including the AACM Big Band (directed by Muhal Richard

T. 5. Galloway speaking with Jerry "The Iceman" Butler, a member of the Stop-Time Advisory Committee.

Abrams), the Schubert Theatre Orchestra, and the Kirk Lightsey Big Band, which toured South Africa

T.S. Gallowav

in 1975. In 1981,

Galloway moved to the ~eber lands , where he taught trombone and orchestration at The Hague and Amsterdam conser- vatories. He had an active career in the musical theater,

serving as music director for produc- tions such as A Night in the Cotton Club and Josephine. Galloway is currently on the music faculty of Columbia College Chicago. As Project, Stop-Time Coordinator and Music Director, he will draw on his first-hand knowledge of Chicago's music history, his eye-witness accounts of some of jazz history's finest ensembles, and his pedagogical expertise.

Ensemble Stop-Time Lecture-Demonstration

Program

aduction to Project Stop-Time Johann S. Buis

The Stop-Time Device-- Jazz Development (1 906-1998 King Porter Stomp

Ferdinand "Jelly Roll" Morton Original Piano Solo New OrleansIChicago Style Jazz New York Style JazzISwing Late Swing

. A divertissement: "Weather Bird" (Joe "King" Oliver)

Bebop Modem Jazz Avant-Garde

Black Music Forms in the United States (1 9th century-1 998)

Been 'Buked (spiritual, late 19th century) Traditional

m #' Traditional

The ~ a ~ t i m e Dance (ragtime, 1902) Scott Joplin

sarch Me Lord (gospel song, 1948) Thomas A. Dorsey

The Bo Diddley (R&B, 1955) Bo Diddley

What'd I Say (R&B/soul, 1959) Ray Charles

Rum and Coca-Cola (calypso, 1943) Lord Invazler

Shining Star (soul, 1975) Earth, Wind and Fire

The Message (rap, 1982)

I Fletch.er/Glover/Chase/Robinson

Stretch Coleridge-Taylor Perkinson

Center for Black Music Research he Center for Black Music Research is the only organization of its kind. Founded at Columbia T College Chicago in 1983, the

Center documents and preserves infor- mation and materials related to the black music experience throughout the world. Its purpose is to discover, dis- seminate, preserve, and promote black music in all its forms-from jazz, blues, gospel, and ragtime to opera and concert works. The Center pro- motes and advances scholarly knowl- edge and thought about black music and the black musical experience and about their relationship to higher edu- cation and to society at large.

The products of the Center are disseminated to the scholarly commu- nity and to the general public through its conferences, publications, and musical performances. The CBMR publishes two scholarly journals- Black Music Research Journal and Lenox Avenue: A Journal of Interartistic Inquiry-and two newsletters-CBMR Digest and Stop- Time! Its national and international conferences on Black Music Research are held biannually, with past confer- ences in New Orleans, St. Louis, Washington, D.C., New York, and Chicago. The musical results of the Center's research are taken to public audiences via performances of two ensembles: the Black Music Repertory Ensemble, which is dedicated to per- forming works by black composers, and Ensemble Stop-Time. The CBMR Library and Archives endeavors to provide a comprehensive research col- lection covering all idioms in black music. The Center also launches spe- cia1 research initiatives, including the Integrative Studies Program, Project Kalinda, and Project Stop-Time, and is host to two successive Rockefeller Foundation Resident Fellows.

CBMR Library and Archives The CBMR Library and Archives is open to the public, and anyone with an interest in the subject matter is invited to visit.

The collections of the CBMR Library and Archives consist of 1,500 books, dissertations, and periodicals; 6,000 sound recordings; 2,000 scores and manuscripts by black composers; and ephemera, photographs, and archival materials. The centerpiece of the Library is the CBMR Database, which serves as a catalog and index to the Library's holdings. The CBMR Database can be searched by musical genre and instrumentation in addition to author, title, and subject.

The CBMR Library and Archives has received numerous individual donations and several major collec- tions, including most recently the per- sonal library of Theodore Charles Stone. The Center is most interested in receiving collections of materials per- taining to all forms of black music and ,

black music history. The collections of the CBMR

Library and Archives are non-circulat- ing. Researchers may consult the col- lections between 9:00 AM and 5 0 0 PM,

Monday through Friday. Reference ser-

vice by telephone, fax, or e-mail is also available. For more information contact Suzanne Flandreau, Librarian and Archivist, Center for Black Music Research, Columbia College Chicago, 600 S. Michigan Avenue, Chicago, IL 60605. Telephone: (3 12) 344-7586; e-mail: cbmrref@popmail.colum.edu; fax: (3 12) 344-8029.

Columbia College Chicago Columbia College Chicago is an under- graduate and graduate college whose principal commitment is to provide a comprehensive educational opportunity in the arts, communications, and public information, within a context of enlightened liberal education. Columbia's intent is to educate stu- dents who will communicate creatively and shape the public's perceptions of issues and events and who will author the culture of their times.

Columbia is an urban institution whose students reflect the economic, racial, cultural, and educational diversi- ty of contemporary America. Columbia conducts education in close relation- ship to a vital urban reality and serves important civic purpose by active engagement in the life and culture of the city of Chicago.

Chicago Foundations Support Project Stop-Ti

wo Chicago foundations have the MacArthur Foundation has been awarded grants to the CBMR in integral to the success of CBMR support of Project Stop-Time. programming for many years, most . '

On May 26,1998, The Chicago recently for Project Kalinda, which " Community Trust awarded funding was completed last year. The 9

for the first year of the project and !' Chicago Community Trust has also - on June 16,1998, the John D. and provided generous financial support Catherine T. MacArthur Foundation for past residencies and perfor- announced its support for the entire a m a n c e s of the Black Music three-year program. Supgqrt from

, . A . . Repertory Ensemble.

Lecture-Performances Target Educational Role of Project Stop-Time

P roject Stop-Time will present a live music history lesson, one that will entertain as it informs its audience about the richness

of twentieth-century popular music written and performed by African- American musicians. This music is under-represented in the curricula of most American schools, even as it influences many facets of American culture. Through a series of lecture-

performances that will combine discus- sion with demonstration, Project Stop- Time will familiarize its audiences with a wide variety of black popular music. Commentary on the composers, musicians, and characteristics that identify this music will convey infor- mation in a manner that is both instructive and enjoyable. Designed for small to mid-sized venues ranging from cultural centers to public schools, the lecture-performances are intended for people from all social, economic,

and educational backgrounds. These "living history" presenta-

tions will consist of three parts. First, Ensemble Stop-Time will trace the development of jazz, by performing Jelly Roll Morton's "King Porter Stomp" to communicate musical styles ranging from ragtime to bebop. The audience will witness how the tune is transformed from "rag" to "jazz" through modifications of its musical elements. In order to demonstrate this change, the lecturer will introduce a musical concept or technique-such as

*

I I- ---- - In addition to future Stop-Time1 articles and reminiscences about the Chicago nightclubs and theaters that gave many of this centuty's finest musicians their start, tours of four such venues are scheduled for Project Stop-Time's third season. One of the most famous of these performance spaces was the Grand Theater, located at 31st and State Street on Chicago's South Side. The Grand played host to vaudeville revues, boogie-woogie bands, and some of the great blues performers, including Bessie Smith, before it was closed for financial reasons caused by the stock market crash of 1929. The Grand was later demolished to make way for urban renewal. Photo: Paul Edward Miller Collection, Center for Black Music Research Library and Archives.

the stop-time pause-and the Ensemble will illustrate it through performance.

In the second portion of the pre- sentation, the Ensemble will perform popular styles to familiarize the audi- ence with spirituals, gospel, R&B, calypso, soul, Latin jazz, urban contemporary, and rap music. The presentation will illustrate differences between the styles, both real and perceived, that have defined their cultures and audiences.

The final portion of the presenta- tion will include a short concert, performed without commentary. It will tie together all elements highlighted in the first two sections of the program, offering the audience the opportunity to hear examples of what they have learned.

Through this musical experience, the audience will learn about the histor- ical significance of music created pri- marily in Chicago, where performance venues of earlier fame now stand empty or no longer exist and where many neighborhoods, such as Bronzeville and Chicago's South and West sides, carry rich cultural histories.