In this Book

That's Got 'Em!
summary
William C. Sweatman (1882-1961) is one of the most truly important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. In That's Got 'Em!, Mark Berresford tracks this energetic pioneer over a seven-decade career. His talent transformed every genre of black music before the advent of rock and roll--"pickaninny" bands, minstrelsy, circus sideshows, vaudeville (both black and white), night clubs, and cabarets. Sweatman was the first African American musician to be offered a long-term recording contract, and he dazzled listeners with jazz clarinet solos before the Original Dixieland Jazz Band's so-called "first jazz-records." Sweatman toured the vaudeville circuit for over twenty years and presented African American music to white music lovers without resorting to the hitherto obligatory "plantation" costumes and blackface makeup. His bands were a fertile breeding ground of young jazz talent, featuring such future stars as Duke Ellington, Coleman Hawkins, and Jimmie Lunceford. Sweatman subsequently played pioneering roles in radio and recording production. His high profile and sterling reputation in both the black and white entertainment communities made him a natural choice for administering the estate of Scott Joplin and other notable black performances and composers. That's Got 'Em! is the first full-length biography of this pivotal figure in black popular culture, providing a compelling account of his life and times.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. CONTENTS
  2. pp. v-vi
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  1. ACKNOWLEDGMENTS
  2. pp. vii-x
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  1. INTRODUCTION
  2. pp. xi-xvi
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  1. 1. IN DEFENSE OF WILBUR SWEATMAN: A Response to His Critics
  2. pp. 3-8
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  1. 2. MISSOURI CHILDHOOD
  2. pp. 9-16
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  1. 3. “PICKANINNIES,” ERNEST HOGAN, AND A WORLD TOUR
  2. pp. 17-26
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  1. 4. CIRCUS AND MINSTRELSY: Touring Life with Cornet Kings P. G. Lowery and W. C. Handy
  2. pp. 27-39
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  1. 5. THE ANCHORAGE FOR THE WORLD’S MARVELS: The Minneapolis Years
  2. pp. 40-44
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  1. 6. CHICAGO AND AN ENTERTAINMENT REVOLUTION
  2. pp. 45-65
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  1. 7. THE ORIGINAL AND MUCH-IMITATED RAGTIME CLARINETIST
  2. pp. 66-84
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  1. 8. EV’RYBODY’S CRAZY ’BOUT THE DOGGONE BLUES
  2. pp. 85-111
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  1. 9. RAINY DAY BLUES
  2. pp. 112-131
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  1. 10. THE RAGTIME DINOSAUR
  2. pp. 132-159
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  1. 11. THE DADDY OF THE CLARINET
  2. pp. 160-164
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  1. 12. THE SILENT YEARS
  2. pp. 165-171
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  1. APPENDIX 1. Listing of Known Compositions
  2. pp. 172-174
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  1. APPENDIX 2. Forepaugh and Sells Brothers Circus Route, 1902
  2. pp. 175-181
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  1. APPENDIX 3. The Speeds and Pitches of Wilbur Sweatman’s Recordings
  2. pp. 182-185
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  1. APPENDIX 4. Quantities of Wilbur Sweatman’s Columbia Records Shipped to Dealers
  2. pp. 186-187
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  1. DISCOGRAPHY
  2. pp. 188-208
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  1. NOTES
  2. pp. 209-221
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  1. BIBLIOGRAPHY
  2. pp. 222-225
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  1. INDEX
  2. pp. 226-230
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