E. Power Biggs, Scott Joplin, Vol. II on the pedal harpsichord (John Challis)
Released 1974 by CBS Inc.manufactured by Columbia Records in the series Masterworks

Side 1
00:00 The Cascades – A Rag (1904) .
03:48 The Chrysanthemum (An Afro-Intermezzo) (1904)
08:06 Something doing – Cake Walk.March (composed with Scott Hayden) (1903 )
11:31 Magnetic Rag (1914)
16:22 Felicity Rag (composed with Scott Hayden) (1911)

Side 2
19:07 The Entertainer – A Ragtime, Two Step (1902)
23:22 Paragon Rag (1909)
27:01 Sugar Cane – A Ragtime, Classic Two Step (1908)
30:52 Scott Joplin’s New Rag (1912)
34:51 Great Crush Collision March (1896)

Ragtime is America on holiday. At this
point in the revival of ragtime, many musicians
have recorded it, many authorities
have written about it, and just about everyone
has listened to it. But I venture to say
that no one has enjoyed playing it more
than I have, and my unique John Challis
harpsichord-with added pedals, as on the
organ-brings, I hope, a new tonal aspect
to the music of ragtime.
A previous record by me contained
many of Scott Joplin’s best rags. More
favorites are ill this collection, together
with a delightful piece of descriptive music
-the Great Crush Collision-which was
one of Joplin’s first publications.
What is it in Joplin’s music that has
fascinated the world, on and off, for
seventy-five years? Is it not very largely
his gift for characterization, as well as his
facility for inventing memorable tunes?
Did Joplin choose a title, and then think up
music to match? Or was it vice versa?
Probably the latter. Considered either way,
the result is just as enjoyable.
Hear the joyous splash and tumble of
the waters in The Cascades, which Joplin
wrote in celebration of the fountains that
distinguished the St. Louis World’s Fair of
1904. In The Chrysanthemum, mark the
subtle suggestion of the rounded contours
and shapely beauty of the flower. Enter into
the bar-room caper of Something Doing.
Enjoy Joplin’s harmonic adventures in the
Magnetic Rag, and join in the straightforward
syncopated romp that is Felicity.
But in The Entertainer, note the graceful
stage bow of the unknown performer,
totally expressed by the opening phrase
and a mere arpeggio, just before the main
theme. The Paragon Rag must assuredly
be declaiming “What a Paragon, What a
Paragon!” in contrast to Sugar Cane, with
its evocative strain and insistent street-cry,
“Sug-ar Cane! Sug-ar Cane!” Scott Joplin’s
New Rag has all the boisterous good nature
of the form, with some splendid modulations
and syncopations.
When Joplin wrote the Great Crush
Collision in 1896, he was on the threshold
of his ragtime career. The Crush Collision,
a delightful piece of musical imagery, celebrates
a stupendous locomotive crash,
staged as a publicity stunt on September
15th of that year, near Waco, Texas. Joplin
dedicated the music to the Missouri,
Kansas and Texas Railroad.
William George Crush, passenger and
publicity agent for the MKT, seeking to
tell the world of the pleasures of railroad
travel, conceived the idea of a locomotive
smash-up as an afternoon’s entertainment.
Strange as this ‘publicity approach may
now appear, “Crush’s Crash” fascinated
the public, and he quite out-Barnumed his
friend P. T.
Two venerable 100;omotives (Nos. 999
and 1001) of the type shown on the cover
of this album were chosen for the event.
Each was to be backed by six heavily-laden
freight cars, bearing banners advertising
the MKT, the Ringling Brothers Circus,
and the Hotel Astoria in Dallas. Advance
pUblicity was displayed all over the Southwest.
The two locomotives with their attendant
freight-cars were paraded up and
down the Katy Line, in the manner of a
couple of prize-fighters. Fantastic public
interest resulted.
By some people, the stunt was considered
a great idea; others condemned it as
wasteful and dangerous. One “Pig-Eye”
Weems, just out of Tennessee, forsook his
cotton picking and stumped the countryside
whipping up opposition to the project.
In Indian Territory, the Indians listened to
the white-man’s excited discussions, looked
at the lurid advertising posters, and simply
asked, “Why?” But Crush prevailed, for
enthusiasm far overrode opposition.
Finally the great day arrived.
excursion trains from far-away points
brought thousands of eager spectators.
Others arrived by buggy, on horseback, or
on foot. A miniature town had been set up,
named Crush, including a hospital-also a
jail for pickpockets and over-zealous celebrators.
Two hundred Texas Constables
were on duty, and directing the whole
scene was William George Crush-a commanding
figure on horseback.
The two locomotives were brought to.gether,
touching pilots (cowcatchers)”
shaking hands” before the bout. They
then pulled apart, a mile each. A full head
of steam was worked up. A special dispatcher
flashed a signal. Throttles were
brought to full open position and locked.
Whistles shrieked.
E. Power Biggs

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