Swing along: the musical life of Will Marion Cook
Renowned today as a prominent African-American in Music Theater and the Arts community, composer, conductor, and violinist Will Marion Cook was a key figure in the development of American music from the 1890s to the 1920s. In this insightful biography, Marva Griffin Carter offers the first definitive look at this pivotal life's story, drawing on both Cook's unfinished autobiography and his wife Abbie's memoir.
A violin virtuoso, Cook studied at Oberlin College (his parents' alma mater), Berlin's Hochschule fur Musik with Joseph Joachim, and New York's national Conservatory of Music with Antonin Dvorak. Cook wrote music for a now-lost production of Uncle Tom's Cabin for the Chicago World's Fair of 1893, and then devoted the majority of his career to black musical comedies due to limited opportunities available to him as a black composer. He was instrumental in showcasing his Southern Syncopated Orchestra in the prominent concert halls of the Unites States and Europe, even featuring New Orleans clarinetist Sidney Bechet, who later introduced European audiences to authentic blues. Once mentored by Frederick Douglas, Will Marion Cook went on to mentor Duke Ellington, paving the path for orchestral concert jazz.
Through interpretive and musical analyses, Carter traces Cook's successful evolution from minstrelsy to musical theater. Written with his collaborator, the distinguished poet Paul Lawrence Dunbar, Cook's musicals infused American Musical Theater with African-American music, consequently altering the direction of American popular music. Cook's In Dahomey, hailed by Gerald Bordman as "one of the most important events in American Musical Theater history," was the first full-length Broadway musical to be written and performed by blacks.
Alongside his accomplishments, Carter reveals Cook's contentious side- a man known for his aggressiveness, pride, and constant quarrels, who became his own worst enemy in regards to his career. Carter further sets Cook's life against the backdrop of the changing cultural and social milieu: the black theatrical tradition, white audiences' reaction to black performers, and the growing consciousness and sophistication of blacks in the arts, especially music.
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Abbie Mitchell African African-American Alex Rogers American Music artists audience August Bandanna Land Bert Williams black musical Bob Cole Broadway Burleigh Cakewalk Carnegie Hall Cecil Mack Chicago chorus City Clef Club Clorindy Colored American comedy composer concert conductor Conservatory Cook New York Cook's Coon Culture Dahomey dance Darktown Dixie Dvorak Eileen Southern Ellington Emancipation Day ensemble Ernest Hogan Europe February Folder Frederick Douglass Freeman George Walker Gotham-Attucks Harry Von Tilzer Howard University Ibid James Weldon Johnson Jazz John Love Lyrics Mammy March Marion Cook MCP Box melodies Mercer Cook minstrel musicians Negro numbers Oberlin October opera orches Paul Laurence Dunbar Pekin performed piano played popular race racial ragtime reprint sang Say Chicken Schirmer singers singing songs stage Swing talent Theatre theme tion tour University Press violin violinist voice W. E. B. Du Bois W. W. Norton Washington Williams and Walker Willie Witmark York Age York Dramatic Mirror