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Too Much Mustard

James Reese Europe
1 disc

1. Memphis Blues, The (Mister Crump), for band
2. That Moaning Trombone, for trombone & band
3. Hesitating Blues, slow drag for band, The
4. Too Much Mustard (Trs Moutarde), one or two-step for piano
5. Down Home Rag
6. Indianola, for band
7. Darktown Strutter's Ball
8. Slippery Place Rag
9. Georgia Sunset Cake-Walk, for piano
10. Temptation Rag
11. African 400, The (An Educated Rag), for band
12. Ragtime Drummer, for drums & band, The
13. That Rag (A Ragged Two Step), for band
14. King of Rags, a two-step oddity for band, The
15. Canhanibalmo Rag, for band
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Additional Info

Manufacturer Part Number (MPN): 221
Credits

Producer Gef Lucena
Engineer
Personnel: James I. Lent (drums).
Liner Note Author: Brian Rust.
Recording information: New York, NY (1907-1919).
James Reese Europe and Arthur Pryor were among the first bandleaders ever to record ragtime and syncopated dance music. In what appears to be the only collection devoted exclusively to the two of them, Saydisc's Too Much Mustard combines selected examples from their respective discographies, covering a 12-year timeline beginning in 1907. Europe was the most promising musical director of his generation, and his sudden death in 1919 dealt a severe if momentary blow to the rapidly evolving African American cultural environment along the East Coast. Pryor was a virtuoso trombonist and a prolific ragtime composer. He served for years as John Philip Sousa's right-hand man, so much so that according to historians, most of Sousa's recording ensembles were actually conducted by Pryor. The first seven titles on the Saydisc album were performed in 1919 by Lieutenant Jim Europe's 369th U.S. Infantry Hellfighters Band, with the exception of Cecil Macklin's "Too Much Mustard (Tres Moutarde)" and Wilbur Sweatman's "Down Home Rag," which were played by Jim Europe's Society Orchestra on December 29, 1913. On that date, Europe recorded an Argentine tango and a Brazilian maxixe, which unfortunately are not included here. The 1919 recordings constitute thrilling evidence of what Jim Europe's all-black musical regiment sounded like in the streets of Paris at the close of the First World War. Pryor's portion of the album is equally rewarding. In addition to providing rare opportunities to absorb and enjoy little-known delights like J. Bodewalt Lampe's "Georgia Sunset Cake-Walk," the brightest moments in the home stretch of this collection are "The African 400" by C. Luckyeth Roberts and Pryor's own zingy masterpiece the "Canhanibalmo Rag." ~ arwulf arwulf