Joseph Lamb, a white musician who lived from 1887 to 1960, was considered one of the major ragtime composers of his era. By the end of his life, he had fallen into total obscurity, and even the ragtime revival hasn't made ... more »him a household name. His rags are different in style from Scott Joplin's, generally briefer and simpler in construction but still filled with lovely melodies and unaffected charm. The "American Beauty Rag," from which this disc takes its name, is only one of Lamb's many delicious miniatures (most of them under three minutes). Virginia Eskin has the style of this music down perfectly. She plays with just the right tempos (a trifle faster than would be appropriate for most of Joplin) and a lyrical sensitivity that doesn't prevent her from showing rhythmic drive. We're used to more than 49 minutes of music on most CDs, but 20 of Lamb's rags in a row are enough for one listening session. Don't give up before you reach the last one, though; "Nightingale Rag" is one of Lamb's best. A fascinating byway in American music is effectively explored and presented in realistic sound. --Leslie Gerber« less
Joseph Lamb, a white musician who lived from 1887 to 1960, was considered one of the major ragtime composers of his era. By the end of his life, he had fallen into total obscurity, and even the ragtime revival hasn't made him a household name. His rags are different in style from Scott Joplin's, generally briefer and simpler in construction but still filled with lovely melodies and unaffected charm. The "American Beauty Rag," from which this disc takes its name, is only one of Lamb's many delicious miniatures (most of them under three minutes). Virginia Eskin has the style of this music down perfectly. She plays with just the right tempos (a trifle faster than would be appropriate for most of Joplin) and a lyrical sensitivity that doesn't prevent her from showing rhythmic drive. We're used to more than 49 minutes of music on most CDs, but 20 of Lamb's rags in a row are enough for one listening session. Don't give up before you reach the last one, though; "Nightingale Rag" is one of Lamb's best. A fascinating byway in American music is effectively explored and presented in realistic sound. --Leslie Gerber
"Joseph F. Lamb is generally thought of as one of the three greatest of the classical ragtime composers, the others being Scott Joplin and James Scott. It's a matter of taste, but many rank him almost as highly as Joplin, and this exquisite album shows why. Lamb's rags typically soar with wonderful, reverie-evoking melodies, unmatched in the ragtime canon. These melodies are offset by original, exciting, brisk passages. Virginia Eskin executes these gems wonderfully. She presents them always at the proper tempo and as written, without the filigrees that are so common in ragtime playing (Lamb doesn't need them!). The only drawback -- and it is a very minor one -- is that she sometimes treads a little too heavily on the pedal. This album is essential in even a small ragtime collection. In my large collection, it is one of my favorite and oft-played treasures."
Excellent Rags Played with Gusto
tzefirah | Media, PA United States | 08/04/2002
(5 out of 5 stars)
"Up until Joseph Lamb, the only ragtime composer who could satisfy me was Scott Joplin. These rags are excellent and distinctly different from Joplin's, although both composers are obviously from the same genre. According to the liner notes, they even knew each other.The pianist has a great love of the material, and it shows in her playing.I highly recommend this CD to all fans of ragtime."
Good
R. Van Der Kuijl | the netherlands | 07/31/2005
(4 out of 5 stars)
"its a good album but not very good
first of all in several rags virgina doesn't repeat where it says it must. second she plays several rags way to fast. Joe lamb was just like the others that ragtime must not be played fast the feeling get lost in the a rag that is played to fast like ragtime nightingale. I have the sheetmusic myself and it says "slow march tempo" not fast like virginia it plays.
but its a good album she plays with flair and style"
Good recording of somewhat neglected works
Interested Observer | Battle Creek, MI | 07/27/2009
(4 out of 5 stars)
"A very good recording of infrequently recorded works and I glad to have it. As with Fluffy Ruffle Girls, it has the benefits of modern technology (clean sound) and deficits of generic pianism, played well but as if for a formal recital, or even a contest jury, without even a whiff of the sporting house origins of the genre. I prefer the middle of the road, technically clean, easy on the improvisation, but leaning away from the studio and the concert hall, as represented by Richard Zimmerman, Sue Keller and Perfessor Bill. There are some others who inject more "flavor", speed and a really rinky tink instrument as well to come off like authentic era mechanical pianos on 78's but are still fun to have around. The amount of sleeze you want with your ragtime is definitely a matter of taste (or perhaps obsessive historicity comparable to the seething furor over Baroque music performance).
My bone to pick with Virginia Eskin is her wearing a feminist revisionist agenda on her sleeve (and her front, back and forehead as well it appears). It is admirable to give exposure to a worthy body of neglected works by women, as in Fluffy Ruffle Girls, when few are aware that such works ever existed. (I might venture that to the general public today ragtime itself consists of little more than the soundtrack of "The Sting", if that.) It is another to assert that these works are actually superior to the entire body of ragtime music composed by men with the single exception of Joseph Lamb. In the notes to this (American Beauties) CD she makes the incredible statement that until she heard Lamb she had been under the impression that all the good ragtime had been written by women! Unless somehow she managed to completely avoid Joplin's well known work with over a dozen solid masterpieces of the genre, it is simply an astounding statement. If she wants to dismiss the vast body of mass-produced sludge, most of it attributable to men, that flooded the market during the ragtime era I would join her (and you can see a bunch of it at http://ucblibraries.colorado.edu/music/smp/browse.htm). If she wants to dismiss James Scott I might understand. His works are the most vigorous of the big three, more difficult than Joplin, and he deserves his spot among the top three men of the era but I find them superficial, collectively one-dimensional, and even mechanical (ideal for the piano roll, I have that CD for comparison) by comparison. They lack the depth and breadth found in Joplin and Lamb, especially the wide range of moods and styles found in Joplin. But she cannot reasonably dismiss Scott Joplin except as an act of pure idiosyncrasy or chip-on-shoulder provocation.
Track Listings (20) - Disc #1
