Ragtime in Washington (CD review)

Michael Adcock, piano. Centaur Records CRC 3639.

First, it might prove helpful to hear an authoritative definition of the musical genre known as ragtime, so here is what the Encyclopedia Britannica says about the subject: Ragtime is a "propulsively syncopated musical style, one forerunner of jazz and the predominant style of American popular music from about 1899 to 1917. Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, blacks' banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music. Ragtime found its characteristic expression in formally structured piano compositions. The regularly accented left-hand beat, in 4/4 or 2/4 time, was opposed in the right hand by a fast, bouncingly syncopated melody that gave the music its powerful forward impetus.

"Scott Joplin, called 'King of Ragtime,' published the most successful of the early rags, 'The Maple Leaf Rag,' in 1899. Joplin, who considered ragtime a permanent and serious branch of classical music, composed hundreds of short pieces, a set of ├ętudes, and operas in the style. Other important performers were, in St. Louis, Louis Chauvin and Thomas M. Turpin (father of St. Louis ragtime) and, in New Orleans, Tony Jackson."

On the present recording, pianist Michael Adcock plays a wide-ranging assortment of ragtime tunes, from Scott Joplin to William Bolcom and John Musto. Mr. Adcock's Web site describes him as follows: "Hailed for his prodigious technique and praised by the Washington Post for an 'unusually fresh and arresting approach to the piano,' pianist Michael Adcock has cultivated a versatile career as soloist, chamber musician and pre-concert lecturer. Recipient of the 1998 Lili Boulanger Memorial Award, Mr. Adcock was also a prizewinner in the 1996 Washington International Competition and the Kosciuszko Foundation Chopin Competitions in Chicago and New York. Mr. Adcock gave his Carnegie Weill Recital Hall debut in December of 1998. Mr. Adcock earned Master's, Artist Diploma and Doctoral degrees from Peabody Conservatory, where he studied with Leon Fleisher and Ellen Mack, and was adjunct faculty in theory and chamber music. Mr. Adcock took his Bachelor's degree from Oberlin College-Conservatory and attended secondary school at North Carolina School of the Arts."

Because Scott Joplin considered ragtime a form of classical music and because Mr. Adcock is primarily a classical pianist, it is no wonder that Adcock takes a kind of classical approach to the music. His playing is more subtle, more reserved, more intimate than most other performers I've heard in this genre. It's quite beautiful, but it is also a bit different and, at the same time, refreshing.

The selections on the album:
  1. Scott Joplin (1868-1917): Bethena (A Concert Waltz)
  2. Henry Lodge (1885-1933): Red Pepper Rag
  3. Scott Joplin: The Easy Winners
  4. George Gershwin (1898-1937) and Will Donaldson (1891-1954): Rialto Ripples
  5. Scott Joplin: Palm Leaf Rag
  6. Thomas Benjamin (b. 1940): That Old Second-Viennese-School Rag
  7. William Albright (1944-1998): Sleepwalker's Shuffle
  8. William Albright: Scott Joplin's Victory
  9. William Bolcom (b. 1938): Incinerator Rag
10. William Bolcom: The Brooklyn Dodge
11. William Bolcom: Last Rag
12. William Bolcom: Fields of Flowers
13. John Musto (b. 1954): Recollections
14. John Musto: In Stride
15. Jelly Roll Morton (1890-1941): Grandpa's Spells
16. Bob Zurke (1912-1944): Old Tom-Cat on the Keys
17. Scott Joplin: Solace

Michael Adcock
Interestingly, the popularity of ragtime has ebbed and flowed. As the encyclopedia mentioned, its height of favor was from about 1899 to about 1917, the end of the First World War. Then it got pretty much shoved aside by various other kinds of jazz. However, a revival occurred in 1973, thanks to the film The Sting, with Marvin Hamlisch arranging and playing Joplin's music. Hamlisch's single from the soundtrack, "The Entertainer," even became a top-ten hit. The irony is that the movie's time setting was 1936, well after the heyday of ragtime; but it didn't matter. For a while, ragtime was back in the public eye. And then, well, the music sort of faded into obscurity again, so it's good to have Mr. Adcock's new album.

Favorites on the disc? Of course. Since "Bethena" has been well liked for over a century, Adcock leads with it. He presents it in an attractively gentle manner, bringing out the more-plaintive, lyrical waltz characteristics of the music. Likewise is Adcock's handling of the crowd-pleasing "The Easy Winners" takes on a sweeter quality than usual. Then he follows with the more upbeat "Red Pepper Rag," which like Gershwin's "Rialto Ripples" gives the pianist room to rock.

Still, as I say, Adcock's classical leanings may be more than a bit disconcerting to people more attuned to traditionally hell-bent interpretations. For the rest of us, the playing is superb and the renditions charming and affectionate. That's doubly the case for Adcock's reading of Thomas Benjamin's delightful lampoon of Arnold Schonberg via Scott Joplin in "That Old Second-Viennese-School Rag." So, even the modern things from Benjamin, Bolcom, Albright, and Musto come off well. Joplin's "Solace" brings the program to an appropriately tranquil and comforting end.

It's all highly entertaining (and not a little enlightening), which is the whole point of music.

Producer Michael Adcock and engineer David Shoemaker recorded the music at Calvary United Methodist Church, Frederick, Maryland in May 2017. The results are quite good.

First, however, a digression. Many years ago (1982 to be exact), the late Dave Wilson of Wilson Audio had just recorded a pair of albums he called "Ragtime Razzmatazz" with pianist Mark P. Wetch. Dave invited me to listen to the actual piano in the actual location he recorded the albums and then to hear the music in his living room through his big WAMM (Wilson Audio Modular Monitor) super speakers. With my eyes closed, the sound of the real thing and the sound of the recording were pretty much alike, especially as Dave had recorded the piano very close, and when we were listening to the real thing, we were sitting very close.

Now, I mention this because there are similarities between Dave's recording and this newer one from Centaur. Both are fairly close up, and both capture the sound of the instrument in a similar fashion. Dave's recording, though, used a huge, Kroeger "hard-tuned" honky-tonk-sounding upright piano. Mr. Adcock plays a fully restored New York Steinway D from PianoCraft. Big difference. So, yes, Adcock's piano has less obvious ring and reverberation, a softer, mellower, and more precise sound, nicely captured by the sound engineer in a modestly reverberant setting, with a mild fuzz or buzz around the strings. Dave went for an authentic saloon sound; Centaur projects a more classical concert-hall presentation. Both are worthy of the music, which works so well in both mediums.

JJP

To listen to a brief excerpt from this album, click below:


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Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa