Prof. Arthur LaBrew, Musicologist
Contents
A
Adger, Joseph Banneker (1864– after1930)
Music teacher born December 1864; son of Robert and Lucy A. (October 1846, born in Virginia of Virginia born parents and studied with Elizabeth Greenfield); has four brothers, Octavius (April 1868), William (May 1870), Julian F. (October 1876), Leon S. (September 1881); becomes a piano composer of some merit having his own publishing company at 921 Bainbridge Street, Philadelphia; served as choirmaster at the Crucifixion Church (1890) in 1892-3 makes a plea for using good music at the Chicago World’s Fair of 1893:[1]
“Since the day I received the letter from the Hon. E. C. Culp, secretary of the joint committee on ceremonies of the World’s Columbian Exposition, granting our people the use of Festival Hall on August 25 ‘93, I have been laboring with all the strength at my command to arouse an interest in the breast of our people to aid in the good work and help me make the day one of lasting pleasure, profit and proud remembrance. Again, as we are known to be a musical people, it has been my duty to endeavor to secure from our many cities some of the most gifted vocalists among our people. Indeed so deeply have I been engaged in these two efforts, that I have been unable to answer the many letters of encouragement from the sturdy, ambitious people among us, who in spite of false lights on the shores have given me every assurance that there are enough true hearted, broad-minded intelligent people of color in these United States, who can be relied upon to support any move for the advancement of the race. We propose to open that meeting with prayer to Almighty God “in whom we live and move and have our being.” Nor shall we fail to beseech Him to deliver those who are still suffering from oppression and cruelty. Personally I entertain no unkind feeling towards those who have tried to throw stumbling blocks in the pathway of the Musical Festival project. We are all working towards the same end, but all are not working in the same way. Nor do we see things in the same light. What appears to be useless or even foolish to one may to another appear fitting and highly serviceable. Honest differences of opinions and of procedure are worthy of respect.
“Our little systems have their say,
They have their day and cease to be
They are but broken lights of Thee
And thou, O Lord art greater than they.”
The highest officials of Europe, and the best people of these United States will go and hear us sing plantation melodies. Now we propose on this occasion to show that we have musical intelligence by interpreting music of a classic order, such as, “The Heavens are telling,” “He’s Watching o’er Israel,” Rossini’s “Inflammatus,” chorals (sic) from Bach’s Passion music, Beethoven’s Mass in C, etc. Another distinctive feature will be the rendition of some of our own musical creations and compositions. The Hon. Frederick Douglass, as great in soul as he is eloquent in speech, will be present and will make an
address. To hear him, alone and to look upon him would more than compensate any one for the trouble and expense of going to Chicago, and when we add to his great name those of the Hon. John M. Langston, Mrs. Fanny Jackson Coppin, the Rev. J. C. Price and other distinguished speakers, surely no trouble should be too great to prevent us from hearing them. We should have the best vocalists in the country to be properly represented. How can I ask them to pay their own expenses. Let every church throughout the land send one of her choirs. All singers are to meet in Chicago, Friday, August 18, ‘93, for one week’s rehearsal. The Musical Festival will be held in Festival hall on the Exhibition grounds, August 25, ‘93. Mr. J. T. Layton, teacher of music in the Washington public schools and choir master of the Metropolitan A. M. E. Church, will train and have charge of the chorus.[2] Let all singers who intend going address him at 1416 Connecticut Avenue, Washington, D. C. before May 30, ‘93. We propose to carry out the program in a dignified manner, interpreting the compositions of some of the old masters, like Handel, Mendelsohn [sic], Rossini, Gounod and Beethoven, and reading some of our own compositions to show that we are mastering music as a science as well as an art. All this we will do to the glory of God. For it must be remembered that our ancestory [sic] always leaned on God with a filial trust and felt after Him in the blackness of darkness. God heard their prayers in His own time and snapped the chains of bondage. With our finite minds we can’t think and say what an Eternal Father ought to do. We can simply say:
“So long Thy power has blest me, sure it still
Will lead me on
O’er moor and fen. o’er crag and torrent till
The night is gone.”
I am a composer of music and I am going to try as hard to express my ideals in music as other artists do to express theirs upon canvass, or in marble, and if God gives me the grace and years in which to perfect my talent I may be the forerunner of a Verdi, perhaps only a voice crying in the wilderness. The joint committee on ceremonies of which Hon. E. C. Culp is secretary, were exceedingly kind in granting their permission for me to have the hall for a musical festival. But they did not do this until I had submitted my program–showing that the exercises both of a musical, and literary character were to be of a high order. Their courtesy can never be forgotten.
Yours Truly,
Joseph Banneker Adger
921 Bainbridge St. Philadelphia.
After the turn of the century, Banneker evidently sought more training and was accepted as a student in a Special Organ Course, in the Sheffield Scientific School of Yale University and dedicated one item to this institution.
Works
All hail the power of Jesus’ name, fantasie (James E. Warwick &
Co.)
Blissful buoyance, piano schottische (Jos. B. Adger, 1892)
Blushes of purity, waltz, piano (Jos. B. Adger, 1892)
The bride’s prayer, nocturne (James E. Warwick)
The Deep Springs of Harmony, waltz/piano & organ (Louis H.
Rose & Co., Boston, 1891); dedicated to William A. Lew,
Lowell Mass.
Faded Friendship, waltz/piano & organ (Jos. B. Adger, 1892,
29378; 16267)
Gladsome day, song (J. E. Warwick & Co.)
God, dismiss us with Thy blessing, Sicilian hymn, trs. (J. E.
Warwick & Co.)
Grand Triumphal March (Jos. B. Adger, 1894); ded. Gen. Daniel H.
Hastings, Gov. elect of Philadelphia
Grant Memorial March (Jos. B. Adger, 1897); Includes Onward
Christian Soldiers, Gen. U. S. Grant’s favorite hymn, which will be sung by 2,000 public school children
of New York at the ded. of the Grant Monument, April 27, 1897
Jesus, lover of my soul, sg. (J. E. Warwick & Co.)
Lord dismiss us
Lost Innocence, waltz/piano (J. E. Warwick & Co.)
Love poem, fantasie/piano (J. E. Warwick & Co.)
McKinley’s Grand Triumphal March, piano (J. E. Warwick & Co.)
On the peristyle, gavotte/piano (J. E. Warwick & Co.)
On the rocks at Newport, scherzo, orch./piano (Jos. B. Adger, 1892) DLC M25. A
Pennsylvania day, polka/march (Jos B. Adger)
Prosperous times, two-step (Jos. B. Adger, 1892)
Pure flames of love, march and polka (Jos B. Adger, 1892) piano; simplified edition also
Quaker City, dance (Jos. B. Adger)
Sheff. (Sheffield) Waltzes (Jos. B. Adger, 1904) M 32. 4; Student in special organ course, Yale U. Respt.
ded. to students in Sheffield Scientific School of Yale U.
There is a balm in Gilead, fantasie (Jos B. Adger)
‘Til the night is gone, waltz (Jos. B. Adger)
Work for the night is coming, transcr. (James E. Warwick & Co.)
Census Philadelphia 1900 ED 83 Sheet 10a; 1930, ED 31, IA.
Adger, Julian or Julion F. (1876)
Music teacher born October 1876, son of Robert and brother of Joseph B.; noted as organ teacher in city directory of 1907; organist for many years at NYC; studied with Dr. Melville Charlton; accepted as a member of the American Guild of Organists (1913); gave organ recital on December 14, 1914 under the auspices of the Philadelphia Organists’ Alliance at Cherry Memorial Church, Philadelphia assisted by Miss Blanche Williams, soprano and Miss Elizabeth Benson, pianist; on May 25, 1918 was presented in recital at Shiloh Baptist Church; chorus members included Mrs. Ada G. Rex, Miss Alicia G. Fields, Miss Ethel B. Bascom, Miss Leila Fisher, Mrs. Loretta M. V. Adger, Mr. Harry Shorter, Mr. Walter F. Jerrick, Mr. Charles N. Brown and Mr. Wm. J. Williams; the advertisement stated that Shiloh had the largest and best organ in any “colored Church in the world;” accepted the post of organist at Church of St. Simon the Cyrenian, Philadelphia, performing a recital March 9, 1925 at Calvary Methodist Church, 140th street and Edgecomb; he featured his own Melodie. Organist at Crucifixion Protestant Episcopal Church, NYC.
Works
For All the Saints (Julian F. Adger), 1943
God of Our Fathers (Julian F. Adger), 1944
Jesus Came the Heav’ns Adoring (Julian F. Adger), 1952. M2146.A
Show Us Thy Way O God (Julian F. Adger), 1953
Melodie (for organ), 1925
Census New York 1900, ED 367, p. 16; Philadelphia 1900 ED 83, Sheet 10a; Crisis Magazine (1913); census Philadelphia 1930 ED 51-112/1A, 64, musician.
Adger, Leon Simmons (1881-)
Born in Philadelphia, September 12, 1881. Moved to NYC and became organist in St. Martin’s Church; presented a program (1905) featuring Burleigh and Charlton with whom he studied organ; assisted many artists viz Ms.Sarah H. Stevens (of Philadelphia) November 15, 1909 and Signor AlfredoVialer (Cuban virtuoso), November 22, 1909 and Joseph Douglass, November at Abyssinian Baptist Church;; a member of Jimmie Lightfoot’s Right’s Quintette in 1915-1917 and made a recording. In 1918 he performed at Murray’s Café, 228 W.42nd. Married to Charlotte Pearl Adger. In 1941 he worked with in the music department of the WPA.
New York Age January 14, 1909
Adger, Mrs. Lucy (1846-1912?)
Vocalist. Born in Virginia; married Robert M. Adger; was an early student of Elizabeth T. Greenfield; participated in the Ladies’ Union Association program at Sansom St. Hall, Monday, April 24, 1865; also featured were Ira D. Cliff, tenor, W. F. Sturgis and the Post Band from Camp William. As a vocalist she sang such cultured songs as “Adelaide” (Beethoven) and “Fac ut Portem” (Rossini) in 1874. She also directed amateur concerts.
[Leon Gardiner Collection, HSP]
Adger, Robert Mara (1837/8-1910)
Born in South Carolina; age in 1850 census is 12; living with parents.[3] Active in abolitionist affairs. Became president of the Social, Civil and Statistical Association of Colored People (org. 1860). Became first president of the American Negro Historical Society (1897).[4]
Adiziz, Bassan (1880-)
Born in Arabia; acrobat in theater.
Census Norfolk, Virginia 1930….
Aesop, S. (fl.1900-)
Violinist.
[Colored American Magazine 6, 1903, p. 772]
Afonca (=Affonseca) Timotio Joze de. (1779/83fl.)
[Lange Sabara]
Afric Philharmonic Society (1857-1867)
Of Detroit, Michigan; founded May 1857; its 5th program was presented at Merrill Hall, Tuesday, April 10, 1860.
[LaBrew Sesquicentennial]
African Joe. (1770fl.)
Violinist. Seen at the tavern of Samuel Cole, a resort for patriots during the years preceding the Revolutionary War . . . lighter pastime of social dancing by young people, accompanied by skillful violin of old African Joe.
[ROB; LaBrew BMCP]
Afro-American Company (1898)
Consisted of the following personnel whose tour began September 8, 1898 at Bryan, Ohio:[5]
Leslie Thomas, proprietor Charles W. Burch, manager
C. B. Halliday, advance agent Sylvester Russell, stage-manager John Garrett, musical director
Florence Hines Alexina Bright Jessie Scott
Julia Bailey
Muriel Ringold Agnes Flemming Marie Wallace
Jeanette Wallace Mary Zimmerman John Bailey
Harry Martinet Ed Roddy Ed Wallace
Cassel and Johnson Earnest Flemming Ringold & Graham
Delaney and Smith Charles A. Hughes L. G. Eggleston
John Garrett W. H. Fanning Harry Massengile
J. H. McCandnon Sam Johnson M. Smith
Walter Hill Otho Walker Skip Farrell
George Farrell William Wentworth Mute Pipman Froy Titus
Luke Cozzins
Agrippa. (1770sfl.)
Drummer, Fl. Revolutionary War.
[National Archives; LaBrew BMCP]
Agrunonis, Antonio (1896-)
Listed as a “Músico Teatro” age only 14 years old, color m=mulatto.
Census Puerto Rico 1910 Marina ED1A p. 30; son of Moucisca Rodriguez y Dias (40).
Agustín. (1772fl.)
Noted as “esclavo;” he was a carpenter but maestro of music at the Jesuit Convent of Santo Domingo of Cordóba, Argentina.
[Grenon Nuestra, p. 82; Lange Convento]
Ainsile, John (1812)
Born New York; age is 38, color black; in his house is Harriet (28); little known of his activities.
Census New York City 1850 Wd. 5, p. 373
Akers or Ackers, Mrs. Cora (1865–)
Singer, music teacher. Born in Detroit, December, 1865; began to appear in concerts “throughout Michigan Ohio and Indiana;” appeared in Black Patti concert (in the chorus) of February 10, 11, 1893; studied voice with Prof. C. M. Vet at his academy (144-143 Woodward); resided at 251 Brush; advertised that she was looking for work; father,
George, was a printer for the Detroit Plaindealer; is noted as a music teacher at 90 Brewster (1895); appears off and on in city directories (1910, 1905, 1910); married to Joseph H. ca. 1892 whose profession is a barber but is separated in 1900.
Census Detroit 1900 Ed 49/9A is a boarder with Charles Wooten and his wife, childhood friends; Indianapolis Freeman, May 27, 1899; LaBrew AAML
Alarcón Tomás (ca. 1795 – ca. 1850)
Violinist and “Professor of Music” in Havana, Cuba; directed his own orchestra and composed dances and Créole songs; active between 1795 and after; reputed to have died ca. 1850.
[Ramírez La Habana artistica (1891); Helio Orovio, Diccionario de la Musica Cubana, Editorial Letras Cubanas, La Habana, Cuba, 1981, 1992]
Albert, Tom (1877)
Trumpeter. Born December 23, 1877 in Algiers, Louisiana.
Alderton, John. (1752/53)
Fifer/drummer. Not positively identified as a black musician; born probably in England; was a barber by trade; ran away from his master, William Brobson, barber, before July 11, 1775; described as about 5’ with a broad face, middling long chin, thick set . . . brown short hair, and very talkative when drunk; “pretends to play on the fife or beat a drum;” when he left he had on “such stuff” as the Negroes generally wear in Maryland; thought to try to pass as a free man and offer himself to some of the militia company as a fifer or drummer; reward of $6 was offered.
[Pennsylvania Gazette August 16, 1775; England‑Wilmington, New Castle County, Maryland; LaBrew BMCP]
Ale, Kortti see under Arle-Tiez
Alec. (1760)
Violinist who ran away from Thomas Jones living near Hanover Town on December 13, 1783; was about 24 years old; well set and about 5’ 4” tall; black complexion and had a long head and high fore head; very thick lips and is an ugly ill looking fellow; had a scar behind one of his ears occasioned by a stroke from a whip [N. B.]; “is very fond of a violin, upon which he plays tolerably well; still at large by May, 1784; $10 reward offered.
[Virginia Gazette or American Advertiser, May 15, 1784; LaBrew BMCP]
Aldridge, Amanda Ida Christina Elizabeth aka
Montague Ring (1866-1956)
Contralto. Daughter of Ira Aldridge. Born Christina Elizabeth Aldridge in Norwood, London,[6] March 10, 1866 – died London March 9, 1956. She showed great promise as a child attending musical performances. At age fifteen she appeared at the Crystal Palace
singing Haydn’s Creations Hymn and a ballad with Sir August Mann conducting the orchestra. She attended the convent school at Ghent where her teachers stressed good diction and the like. At age seventeen she competed for a scholarship for the Board of Examiners of the Royal College of Music singing Beethoven’s “Die Ehre Gottes aus der Natur.” She won and became a student of the famous Jenny Lind. Performed in recital June 30, 1903. Other appearances were at Steinway Hall, June, 1905. However, her singing career was cut short after an attack of laryngitis. She therefore turned to earning a livelihood by teaching and composing. Among her pupils were American singers, Mrs. Corrine Bush-Hicks (of California), Marian Anderson, Paul Robeson and Roland Hayes. Also had a performance in the Drawing Room at Buckingham Palace, and included 3 African Dances; known professionally as Montague Ring.
In 1922, she appeared in concerts in America one of which took place on November 2 at Louisville, Kentucky.[7] After an extensive career of writing and teaching she died March 9, 1956 one day before her ninetieth birthday.
Works
A Summer Love Song (London: Boosey), 1907, voice
Assyrian Love Song (London: Elltin), 1921, voice
At Cupid’s Ball (London: Chappell), 1923, voice
Azalea (medium voice). (London: Ascherberg, Hopwood and Crew), 1907, voice
Blue Days of June (low voice) (London: Chappell), 1915, voice
Carnival suite of Five Dances (London: Chappell), 1924, piano
Clorinda (two-step with chorus ad lib.) (London: J. B. Cramer), 1906, piano
Four Moorish Pictures. An Eastern Suite (London: Ascherbert, Hopwood and Crew), 1927,
piano
Frivolette (London: Chappell), 1917, piano
Gloriana: Ragtime (London: J. B. Cramer), 1913, piano
Have You Forgotten? Waltz (London: Regent Music), 1911, piano
Laughing Love. Waltz (London:Chappell), piano
Lazy Dance: La Paresseuse (London: Chappell), 1913, piano
Little Missie Cakewalk (London: Lublin), 1908, voice
Little Rose in My Hair (medium voice). (London: Walsh, Holmes), 1934, piano
Little Brown Messenger (London: G. Ricordi), 1912, voice
Love’s Golden Day (London: Chappell), 1917, voice
Mirette: Serenade (with vocal refrain) (London: Walsh, Holmes), 1934, piano
Miss Magnolia Brown (London: Francis, Day and Hunter), 1907, voice
My Dreamy, Creamy Colored Girl (London: Ascherberg, Hopwod and Crew), 1907, voice
My Little Corncrack Coon (London: Lublin), 1908, voice
Noontide (voice and Piano) London: Elltin), 1922
On Parade; March (London: Boosey and Hawkes), 1914, band
Ragdad Suite (London: chappell), 1929, piano
Simple Wisdon (London: Lublin), 1908, voice
Song of Spring (London: Boosey and Hawkes), 1908, voice
Summah Is de Lovin’ Time (London: Chappell), 1925, voice
Supplication (London: Leonard), 1914, voice
T’Chaka: African Suite (New York: Bosworth), 1927, piano
Teach Me How to Two Step (London; Ascherberg, Hopwood and Crew), 1910, piano
The Bride (high voice) (London: Chappell), 1910, voice
The Fickle Songster (medium voice) (London: Cary), 1908, voice
Thou Art with Me (London: Cramer), 1910, voice
Three African Dances (London: Chappell), 1913. Piano; also for full orchestra, small
orchestra and military band.
Three Arabian Dances: Suite (London: Chappell), 1919, piano
Three Pictures from syria: suite (London: Metzler), 1924, piano
Through the Day (medium voice) ( London: Boosey), 1910, voice
Two Little Southern songs (medium voice) (London: Chappell), 1912, voice
Two Songs of the Desert (high voice) (New York: G. Ricordi), 1923, voice
Watch Me. Fox-trot (London: Chappell), 1919, piano
When the Colored Lady Saunters Down the Street (London: Ascherberg, Hopwood and
Crew), 1907, voice
Where the Paw Paw Grows (London: Ascherberg, Hopwood and Crew), 1907, voice.
[London Daily Telegraph, June 30, 1903; see further in Colored American Magazine 6, August 1903, p. 679; African Times and Orient Review, August 1913, p. 83; Ira Aldridge The Negro Tragedian by Herbert Marshall and Mildred Stock (Southern Illinois University Press, Feffer & Simons, Inc., Carbondale and Edwardsville), p. 302-307]
Aldridge, Ira Frederick Olaf (1862-1886)
Attended a boarding school when his parents toured. He was plagued by the taunting of other children and spoke of his mistreatment. He developed into an accomplished pianist and later a composer. He studied with eminent pedagogue Oscar Beringer and at one time received accolades from Hans von Bülow. He often accompanied his sister, Amanda. In 1886 he
appeared with a group called the “Manteaux Noirs” company which was engaged at the Spa Theatre at Scarborough. After leaving the company he performed in Sheffield but accepted an engagement to return to Scarborough as pianist at the Aquarium. However, he suffered from ill-health and was attended by the local doctor who warned his wife (Florence Aldridge) and mother of his state of delirium. His death was due to a fall he sustained when he fell from a window and died August 26, 1886, age 24.[8] The family was unable to put up a grave stone and some years later the black actor, Frederick O’Neal, of New York attempted to do so.
Works:
Luranah (Novello, Ewer & Co., London and New York)
[Ira Aldridge The Negro Tragedian by Herbert Marshall and Mildred Stock (Southern Illinois University Press, Feffer & Simons, Inc., Carbondale and Edwardsville), p. 297-300. Note: 1851 census of England notes Ira D.’s birth age 2 ½ (b.=1849+).
Alejandro, Jose. (1790sfl.)
Contralto singer; mentioned in the records of the Irmandade de São Jose Homen Pardos in the 1790s.
[Lange Vila Rica]
Alexander, Mrs. Charlotte (1867fl.-)
Vocalist. Came from Cincinnati to Chicago ca. January 16, 1867 and opened a singing school in Bethel A.M.E. Church and formed a choir. Taught vocal and instrumental music to both white and black students. Had offers to sing in white churches in Chicago. To present a grand concert the first of June, 1867.
[Christian Recorder, June 22, 1867]
Alexander, C. (1857-)
Actor with Ernest Hogan.
[Census 1900 Honolulu, Oahu ED 12A]
Alexander, Edna (b. 1880 d. 197?)
Soprano. Born in Ohio (possible Toledo) the family moved to Chicago where she spent her school-life; joined Quinn Chapel choir; mother placed her under competent teachers; became leading soprano in choir; engaged by Cole and Johnson; linked romantically to Señor Fernandez of Cuba whom she met while on tour in Jacksonville, Florida; census 1900 notes one Edna Alexander born March 19, 1892 at Ottumwa, Iowa but is not our actress; died New York City, December 7, 197?); with “A Trip to Coontown at Detroit, 1899 as a soprano; in “Coontown Opera Co.” with Lloyd Gibbs; married Maceo Pinkard; still other sources read: “World’s Greatest colored sopranist.”
Census Chicago 1900 ED 73 8b she is 19 years old; 1910 ED 232 2A; Colored American Magazine (1901), 140, picture 141; 144-145; ASCAP (1952); see as a composer, p. 38; Monthly Gazetteer and Guide Magazine, pub. Buffalo, New York, Vol. 1, No. 2, December 15, 1901; picture, p. 10; soprano of “Remarkable voice and Culture;” Indianapolis Freeman, March 4, 1899. Notice in Afro-American Ledger, August 14, 1913 reports her death in Vienna; came east in 1859 (?); left New York in 1905 and never returned married Billy Farrell while abroad.
Alexander, Miss Estrella (1890fl.-)
Flourished in the 1890s at Grand Rapids; sang in the Gilmore concert of June, 1890.
[Plaindealer, June 20, 1890]
Alexander, Henry (1895-)
Noted as a musician in an orchestra in 1920; he is 25 years of age born in Kentucky (father born in South Carolina and mother in Kentucky); married to Julia (29, born in South Carolina of North-Carolina born parents); his mother, Lucy, was 66 years of age.
Census Detroit 1920 ED 101 sheet 5B
Alexander, John (1842fl.-)
Musician listed in city directory of New York City residing at 21 Laurens street.
New York City Directory 1842
Alexander, M. (1865-)
Actress with Hogan.
[Census 1900 Honolulu, OahuED 12A]
Allain, Adolph (fl. 1878)
[Trotter]
Allain, Joseph (ca. 1852)
Age about 30, sings on program January 16, 1882, New Orleans; gives own concert in April.
[Louisianian January 7 and April 29, 1882]
Allain, T. T.
Vocalist in 19th century New Orleans. Daughter enters Southern U (1890), son, Theophile T. Jr. of Iberville, enters Tuskegee Normal (1890).
[Indianapolis Freeman, October 11, 1890]
Allen, A. B. (fl. 1900-)
Opens a colored concert hall in Buffalo, New York.
[Indianapolis Freeman, June 3, 1899]
Allen Quadrille Band (1869)
San Francisco; performs at Turn-Verein Hall and the Emancipation Services, January, 1869.
Allen, Benjamin (b. 18??-d. 1890)
Boston, Massachusetts.
[LaBrew Boston]
Allen, Cleveland G. (1887- d. 1953)
Correspondent. Born March, 1887 at Greenville, South Carolina; in 1920 he won a scholarship at the Angelus Academy of Music following a competition in which 108 persons competed. Active in the St. Mark’s Lyceum (1907) and as a newspaper writer/publicists (see New York Age, Christian Recorder, etc.); later music reviewer for Musical America; writings appear as early as 1911 (see below) and 1913 when he began writing about discrimination in the navy against colored sailors; music critic for Etude Magazine. In 1918 he was decorated by the American Red Cross by the sister of former Governor Lowden of Illinois. He attended the Red Cross School of Information. For two years he lectured for the New York Board of Education on Negro Music which information he continued throughout the country. In 1919, while attending New York University, he nominated Frederick Douglass for the Hall of Fame – the first Negro to be nominated. In 1921 he won a scholarship at the Angelus Academy of Music. In 1947 was in charge of the birthday tributes to Col. Charles Young (d. 1922 in Africa) in New York City.
Articles:
Christian Recorder, Sept. 28, 1911. “National Association of Colored Musical and Arts Club Seeks to Enlarge Membership.” Organized in Brooklyn in 1908 to “create an awakening among colored musicians and artists. The fall meeting of 1911 took place in New York in October at the residence of Mrs. Harriet Gibbs Marshall, 240 West, 134th Street.
Crisis Magazine, April, 1913, p. 272.
Current History, May 1927, 245-249? “The Negro’s Contribution to American
Music.”
[Crisis (April, 1913), p. 272;
Musical America Vol. 32 No. 7 June 12, 1920, p. 30-31
Musical America Vol. 37 No. 10, Dec. 30, 1922 p. 26
Musical America Vol. 45 No. 9, Dec. 18, 1926, pp. 36-37
Musical America Col. 48 No. 30 Nov. 10, 1928, p. 128
Musical Courier Vol. 103 No. 14, October 3, 1931, p. 7
Harmon Foundation Awards, LaBrewAAMR 2/1; Census S. C. 1900 notes his age as 14 born in 1886, son of Sgt. and Mrs. Rebecca and brother to Henry (b. 1881); formerly publicist for Booker T.Washington; advocate for Negro Music.
Census Pittsylvania, Virginia 1930 ED 29, page 11B; Crisis Magazine, March 1921.]
Allen, Frank S. (1875-)
Musician, born in California; father born in Kentucky, mother unknown. Living in Grass Valley, Nevada in 1900.
Census Nevada County 1900, reel 95, p. 25-b, District No. 47; in 1920 census Frank S. is 45; ED 60, page 11B.
Allen, Henry St. (1877-1952)
Trumpet. Born in Algiers, Louisiana. Leader of Allen Brass Band; father of trumpeter Red Allen.
Al Rose. New Orleans Jazz.
Allen, James. (1778/79)
Horse Trainer/dancer. Born in 1778/9, he comes to public notice in 1797 when the following advertisement read in its entirety:
TWO HUNDRED DOLLARD REWARD.
Ran away from the subscriber on Tuesday Evening the 4th Instant a negro man named James, frequently called James Allen. He is eighteen or nineteen years of age, and about five feet six or seven inches high. He is a very bright colour’d Negro somewhat bordering upon a mulatto cast. He wears his Hair (which is short and curly) combed back, and generally has a number of plaits upon it.
He is a likely good looking lad, and well made. He is rather inclined to be bow or bandy legged, round shins, with a foot and heel too large and long to wear a tolerable Boot. Amongst strangers or before his superiors, he is remarkable for having but little to say, and has a small hesitation in his speech, which becomes more perceptible, when he speaks quick. He is very apt to retain his spittle, until he collects almost his mouthful, and when spoken to, he is often under a necessity of spitting (and which he does with reluctance) before he replies. He often speaks with his mouthful of spittle which is easy discovered.
In conversing he is apt to lean his head on one side, at which times, he looks at the person he is speaking to, with a peculiar cast from his eyes. He is extremely slow in all his motions, particularly his walking yet he is fond of dancing a hornpipe, which he performs tolerable well.
He has a scar on some part of his face, occasion’d by the kick of a horse. He chews and is fond of smoaking Tobacco. He took away with him none but his stable cloaths; a big round over Jacket, of tolerable fine homespun, London‑brown cloth, two rows of guilt thimble or nipple buttons, breeches of the same, with white mettle or duncard buttons and strings at the knees. His waistcoat much worn is of mix’d coloured cloath, a pair of cotton stockings, with the stripes running across. A pair of strong Boots newly footed, and laced before, from the instep to the bottom of the turndown. He also took with him, a handsome silver watch, the hours represented by figures, a brass chain to it, and a black seal, representing a woman feeding a bird, and set in brass or copper.
He can read a little, and amongst his crony’s he is a great swearer. — Bred up a favourite, he has never experienced severity or labour. I have always indulged him to an extreme, and placed unlimited confidence in him. From his infancy he has never been employed at any business except hunting, and the breaking and training of running horses, at which he is very expert.
He understands training and dressing of horses, and cleaning of harnesses and carriages. This fellow is well known throughout the states of Maryland and Delaware, having been frequently in Philadelphia and other parts of Pennsylvania, and has some acquaintance in Virginia and New‑Jersey. He has sometimes rode with me, has most generally been my messenger both far and near, and he is familiar upon nearly all the roads, and race grounds in the middle states. ALSO ran away. . . Abraham or Abraham Small, brother to the aforesaid James. Signed: Thomas March Forman of Sassafras Neck, Cecil County, Maryland.
[Porcupine Gazette April 24, 1797; LaBrew BMCP]
Allen, James (1867-)
In theater business; however, is incarcerated in Sing, Sing Prison.
Census 1900 Ossing Twp. Sing Sing Prison, ED 107/2.
Allen, Miss Frances (fl. 1846)
Directress of juvenile choir Boston.
[LaBrew Boston]
Allen, Miss P. E. (1870s fl.-)
Musician in Boston, Massachusetts.
[Trotter]
Allen, Thomas S. (1871 – )
Composer. In 1890 he was eighteen years old.
Works:
Goodbye Mr. Greenback, sg. (Boston Walter Jacobs, c. 1906)
Oh gee-poor me (Boston. Daly Music Co., c. 1909)
Census Perryville, Perry, Alabama, 1890 Ed 78
Allen, Uriah (1864)
Born September, 1864 in Michigan; brother-in-law to James C. Moore*; noted as a member of the Lansing Excelsior Band; elected treasurer in 1896.
[Indianapolis Freeman, April 11, 1896]
Allen, Viola (1896fl.-)
From East Saginaw and Kalamazoo, Michigan; mentioned as a “great cornetist” with the “colored female brass band” managed by John F. Gray*; lived at Ft. Wayne, Indiana (1896); parents resided at South Bend; frequent visitor to Michigan having a cousin, Mrs. Della Stewart who resided at Kalamazoo; little is known about this woman’s band.
[Indianapolis Freeman, March 14, 1896; LaBrewAAML]
Allen, Warner (fl. 1870-)
Listed in city directory of Richmond, Virginia of 1870; h. Baker’s alley between 17th and 18th and Main and Cary.
[City directory, 1870]
Allen, William (1852)
Dancer born in New York of New York-born parents; age in 1880 is 28; he is a boarder with John Henderson (24, laborer).
Census New York City 1880 ED 119, page 6
[1] Given in Detroit, Michigan.
[2] Layton’s credentials included a production of the cantata of Belshazzar’s Feast at the church February 29 and March 1, 1889; Indianapolis Freeman, February 9, 1889.
[3] His brother Joseph R. mentioned in the Census Philadelphia 1850, South Lombard, 329, died January 22, 1864 serving aboard the U. S. Ship Ticonderoga only a few days before he became ill, age 19. Cf. Christian Recorder, January 20, 1864.
[4] Wendy Ball and Tony Martin using materials in the Leon Gardnier Collection at the Historical Society of Philadelphia compiled Rare Afro-Americana: A Reconstruction of the Adger Library (G.K. Hall & Co. 70 Lincoln Street, Boston, Mass, 1981) which somewhat gives the details of the Adger family. In the introduction they note that Robert Mara, the bibliophile, is “not” a well-known figure in Afro-American history. Nonetheless, the entire contributions of the family to early Philadelphia black history combine to make this one of the best musically productive families of the 19th century.
[5] LaBrew19th Century: Cartoons, etc.
[6] Herbert Marshall and Mildred Stock gives Luranah Villa, p. 302. 1851 Census England gives Ira’s age as 43 and born in Africa.
[7] Baltimore Afro-American, November 10, 1922.
[8] Date of death found in New York Clipper, September 18, 1886,
Recent Comments