![]() He was also a serious fan of Scott Joplin and, as he started to compose, found ragtime as Joplin originated it to be a very natural fit for him by preference and temperament. He could sight read and, in fact, was very much a formal musician in the sense that he did not improvise at the piano. Lamb came from a musical family and had sisters who had formal training, and it was from them that he learned piano and composition. What's more, he maintained a "day job" in the textile business that kept him busy enough so that he was never a "star" in the manner of Joplin or Scott, and seldom made the effort to cultivate a following - he was a reluctant giant in his field. Louis roots of Joplin or Scott, or the Louisiana birthplace of Jelly Roll Morton, as it was possible to be. He came from a place as far removed from the St. This resulted in a number of inaccuracies in their research.Joseph Francis Lamb occupied a unique niche in the history of jazz, as one of the three "fathers of ragtime," alongside Scott Joplin and James Scott - but unlike the other two, Lamb was white, and came from the Northeast (Montclair, NJ, no less), and would seem an unlikely candidate for such a position in history. Some historians, however, have noted that Blesh and Janis’ skills were more as journalists rather than historians, which was more acceptable in 1960 than in the 21st century. Some historians regard They All Played Ragtime as the major impetus for the modern, post-1950 ragtime revival. In addition to a new rag by Joseph Lamb, the scores included more recent ragtime compositions by Ashwander, Max Morath, Bob Darch, and Peter Lundberg. In it, he states how that edition includes sixteen complete ragtime piano scores, and that Donald Ashwander was the copyist for most of them. ![]() In the 1966 Oak Publications edition, Blesh wrote a new acknowledgements section for the third edition. Blesh states how Lamb was initially unaware of the quality of his music and asked Blesh how much it would cost him to get into Blesh and Janis’ book. Lamb described his meeting Scott Joplin to Blesh and Janis (following Joplin's move from the Midwest to New York City). Eventually, Janis and Blesh located Lamb living in Brooklyn. ![]() In a recorded discussion between Rudi Blesh and pianist Milton Kaye, Blesh revealed that for a long time the authors were not able to find out any information about Joseph Lamb, and that some believed the name to be a pseudonym for Scott Joplin. It is the first book to document what is now regarded as the early ragtime triumvirate: Scott Joplin, James Scott, and Joseph Lamb. ![]() The book is divided into a prelude and thirteen chapters. It is generally recognized as the pioneering and first serious book to document the history and major composers of ragtime in America, and has been referred to as The Bible of Ragtime. According to the Preface to the Fourth Edition, by Rudi Blesh, the book was conceived and researched largely by Harriet Janis, who died in 1963. ![]() It was subsequently reissued in 1959, 1966, and 1971 by Oak Publications, and in 2007 by Nelson Press. They All Played Ragtime is a non-fiction book by journalist Rudi Blesh and author Harriet Janis, originally published by Grove Press in 1950. 1950 book by journalist Rudi Blesh They All Played Ragtime ![]()
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