Carolina Shout

James P.Johnson's signature.

Fats Waller, Count Basie and Duke Ellington learned to play
this note-by-note by listening to Johnson's 1918/1921 piano roll version.

James P. Johnson (1891-1955) was an important transitional figure between ragtime

and jazz piano styles. His style became known as Stride. As a boy, Johnson studied
Classical music and Ragtime. He started playing professionally in a sporting house,
and then progressed to rent parties, bars and vaudeville. He eventually became known
as the best piano player on the East Coast and was widely utilized as an accompanist
on over 400 recordings and from 1916 on, produced hundreds of piano rolls under his
own name. He backed up many of the Classic Blues singers of the 1920s, such as
Ida Cox, Ethel Waters and Bessie Smith. Johnson's 1921 recording of Carolina Shout
is considered to be the first recorded Jazz piano solo by some critics, although it
sounds a lot like Ragtime to this listener's ears.

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4 Carolina Shout

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6 Carolina Shout

"Carolina Shout" by James P. Johnson (notes by John Roache)

Here is "Carolina Shout" by James P. Johnson, the self-proclaimed "Father of Stride Piano".
This sequence was performed from a score which was transcribed by Riccardo Scivales from a recording made
by Johnson on August 15, 1944. In the recording Johnson is accompanied on drums by Eddie Dougherty.

The piano and drums were performed by John E. Roache using the Riccardo Scivales score.
The drum accompaniment is performed in the same style as the recording.
The score can be found in "Harlem Stride Piano Solos" by Riccardo Scivales, published by Ekay Music Inc.

Scivales annotates the score as follows:

"This is the ultimate "test-piece" for every aspiring Stride pianist. Johnson recorded it several times, first a piano rolls (1918 & 1921).
Duke Ellington as well as Fats Waller, Cliff Jackson and Joe Turner (to name only a few) learned "Carolina Shout"
note-for-note from the 1921 piano roll. Ellington also considered this piece as "the most solid foundation" for him,
and recorded it as a solo in 1956. Johnson composed its basic themes while working at Jim Allan's in The Jungles (1914)
and "Carolina Shout" reveals the influence of the various musical dimensions from which he drew inspiration."

"The theme of the A strain originates from a traditional ragtime motive freely picked up and elaborated by various early jazz musicians.
The B and the D strains are very reminiscent of the fiddle or banjo music played at set dances. The C strain is built upon a
call-and-response pattern and is clearly the pianistic transposition of black religious music, featuring high and spirited "shout" of
the preacher and the ecstatic response of the congregation. The E strain reiterates these concepts."

"The story of Johnson's early recordings of "Carolina Shout" parallels the transition from the "fast-shout" style to the Stride style.
"Carolina Shout" was cut on piano rolls in 1918 and in May, 1921 and then recorded on October 18, 1921 for the Okeh label.
These three renditions are very dissimilar. Both the piano rolls retained some of the mechanical nature of ragtime and "fast-shout"
(some of which is also due to the piano roll medium). The 1918 roll in particular has very few tenths and "back beats" in the
accompaniment, it lacks the Coda, and features an odd 23-bar B strain never used again by Johnson.

The 1921 roll is as much more articulated both in phrasing and rhythm, featuring 10ths, "back-beats" and a Coda.
It is very close to the 1921 Okeh recording, but does not feature the right hand variation on the A2 strain. This variation, built on
a double-third based phrasing, establishes the definitive Stride "sound" and is featured for the first time in the 1921 Okeh recording,
which is the "final" version of "Carolina Shout. The 1944 rendition reported here is close to this version, with a fantastic drive added."

James P. Johnson

Johnson, James P., b. Feb. 1, 1894, New Brunswick, N.J., U.S. d. Nov. 17, 1955, New York, N.Y. in full JAMES PRICE JOHNSON
highly influential black American jazz pianist who also wrote popular songs and composed classical works. A founder of the
stride piano idiom, he was a crucial figure in the transition from ragtime to jazz.

In his youth Johnson studied classical and ragtime piano techniques, and by his late teens he was performing in saloons, in dance
halls, and at parties in a black community on Manhattan's West Side, near Hell's Kitchen. While playing for dancers before 1920
he became noted for his rare ability to create embellishments, variations, and improvisations on popular songs, including the blues,
relatively new at the time. He made piano rolls followed by recordings of his own songs. He also composed and orchestrated
music for stage revues, including Keep Shufflin', a 1928 collaboration with his leading student, Fats Waller.

Johnson's symphonic works, according to composer Gunther Schuller, use "basic Negro musical traditions that emulated
roughly Liszt's approach in his Hungarian rhapsodies." However, these works, which include Yamecraw (1928), Harlem
Symphony (1932), and the one-act opera De Organizer (c. 1940), with a libretto by Langston Hughes, have seldom been performed.

As played by Johnson, stride piano, a development of ragtime, used two-beat left-hand rhythms to accompany right-hand
melodies that featured uncommon interpretative variety. Representative pieces range from the heartily swinging, up-tempo
"Carolina Shout" and "Carolina Balmoral" to the delicate and reflective, slower-paced "Blueberry Rhyme" and "Snowy Morning
Blues." Grace and elegance of musical line characterize his solos, and among his accompaniments, his work in singer Bessie
Smith's "Backwater Blues" is especially notable. The most popular songs that he wrote include "The Charleston," "Old Fashioned
Love," and "If I Could Be with You One Hour Tonight."

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