Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-06-23
BIRTHPLACE OF THE BANJO
THE ORIGINAL INSTRUMENT MANI
FACTURED IN VIRGINIA.
en- iscences of Old-Time 'ImitatOr
of the Happy EthiOpian"-Ncgro
Minstrelsy.

Negro mnstrelsy as given by the white
imitators of the happy Ethiopian said an
old resident, whose boyhood was spent in
Virginia, lis said to have been introduced
by Daddy Rice of Jump Jim Crow fame
Perhaps he was the first delineator at the
north. but below Richmond 1t Is believed
that the field CT Appomattox was the birth
place of the banjo nearly a century ago. as
well as the scene of Lees surrender sixty
years after. The story we have Is that
Joel Sweeny, the son of a blacksmith. tired
Of beating on the anvil. after making
a gourd banjo made one of a cheese box
and sheepskin and the branch of an apple
tree, and became fine performer. From
him his brothers, Sam and Bob. and some
of the female members Of the family, learn
ed to pick the strings: and they afterward
gave entertainments in Richmond and other
Virginia towns, meeting with much sue
cess.
There was also a claim that the instru-
ment was first made by an old slave near
Fredericksburg in the 20s. but Henry War
rem, now hundred years old, says whan he
was boy an old colored man living in Mont
gCmery county was accustomed to play on
a gourd banjo. and often on one of his
own make Of sheepskin and a sitter frame.
Rice was in Washington at the Amer.-
can Hotel. Louisiana avenue near 9th street.
In the 3Vs. and may have then caught or.
but l believe Jim Sanford, who, 1t was said.
took the Fredericksburg slave as his pat
tern in singing and playing. was before
Rice. He travelled with Baldwin's circus,
which showed here in 1898 and 1894. and
vas one of the creates banjoists known
then or after. and his popularity was at
tested by the public quickly catching his
songs. Sitting Rail- Zip Coon and
'Sich a Getting Up Stairs and the like.
After Sanford others entered the field, and
In little time good imitators of the plan
tation fiddlcrs and banjoists. assisted by
the bones and tambourine. We're before the
public. usually appearing with circus and
theatrical companies.
First to Exhibit in Washington.
THE first organized travelling troupe
which showed here continued the old man.
was. 1 believe Dumbleton's Ethiopian Ser
enaders. at Apollo Hall. on the south side
of f street west Of 18th street. in 1912.
This was small company. composed of
Frank German. tambo; - Pelham, bones
George Harrington. banjo, and NJ. STAN
wood accordion. and they were successful
in the business. Their songs, Aunt Sally.
Dan Tucker and Floating Scow of Old
Virginny, became popular, and they went
appeared, and in 1913 the Congo Ministries
of New York were here. billed to appear in
connection with the performance of Beauty
and the Beast at the National Theater the
night of March 5, when it was burned.
"A Washington troupe was one of the first
l believe. to give two hours entertain
ment filling up an evening". and l do not
know that 1 ever attended more creditable
performances than those of the Washing
ton Euterpeans. Several of these were
given at Odd Fellows Hall, on It'll street
There were six in the company, of whom
Mr.. Joseph F. Hodgson is the sole survivor
remember with what pleasure we heard
from time to time of the success of the
Euterpeans and that many here were dis
appointed when they learned of the disso-
luton of the troupe"
Mr.. Hodgson when reminded that he was
the only one of the six now living, said:
Yes. l have survived them all. There
We're John w. Abby. Robert Ball. John
Goldin. Jacob Tabler, Richard Tongue and
myself We had been singing in church
choirs-most of US in Wesley Chapel-from
1910. and almost every evening we met to
practice singing. the late Prof. Joseph Dan
tels instructing US. We took up instrument
al music, all of learning the flute and
some taking to other instruments. AS we
improved our services were sought for by
church and other organizations first ap-
pearing in concert at DR.. Laurte'5 church
In .1S43. when we made a favorable impress
sion.
I'VE had been so well received by Wash
ington audiences that two years later QS40
We determined to feel the public pulse still
further and embraced opportunities to visit
LAUREL EllicOtt City. Frederick. Hagers-
town. Winchester, Leesburg and other near
ny LOVES, WneTe we were Well received
We started on our tour early the follow
Ing year, with w. w. Bushnell, afterward
stage manager and husband Of Kate Hayes
the Irish nightingale, as our manager, and
our organization was as follows: j. W
Ably. second tenor and flute. musical di-
rector; Richard Tongue. alto and VIOLIN
Robert Ball. bass and bones: John Goldin,
contralto and banjo; Jacob Tabler baritone
and banjo, and myself as first tenor and
tambourine.
How They Advertised.
THE art of advertising was then in its
infancy, and in addition to using printers
Ink we resorted to advertising ourselves
through church services. We made friends
with the choir leaders and other musical
people. and taking letters from one town
to another arranged to sing in churches
Sundays. always insisting on giving one of
our own selections. In this way. while as
siSting in the service, We advertised our
show effectively.
Leaving Washington our first stand was
Fredericksburg, then Richmond. and along
down to New Orleans; thence we went up
the Mississippi and Ohio. and coursed
around homeward at some places showing
for a week and at others night or two.
as a rule remaining at place as long as
We had full houses.
Our program was Of three parts" con-
tfnued Mr.. HodgSon. 1.-The first being in
full dress and white faces. the second as
the fancy darky and the third as the plan
tation hands. I'll give you a specimen pro-
gram: Pirates Glee-We Love the Howling
Winds, quartet, Abby Hodgson. Tabler and
Ball; The Grave of Washington quartet;
"A Little Farm Well Tiled trio, Abby,
Hodgson and Ball: 'Slumber, Gentle Lady
sextet. with alto solo by Mr.. Tongue. and
a laughing song. Sing, Who Sings as a
quartet. Then came the sextet of flutes in
black faces. by the company. preceding the
second part, which opened with an instru-
mental selection by two flutes, violin, gui-
tar. banjo and violincello. generally from
Ernani or other opera; 'Suwanee River
solo by Tabler and chorus, medley of TWEEN
ty-six negro songs and chorus. ''Skeeters
Do Bite
"a negro sermon by Hodgson introduced
the third (plantation darky) part, In which
Abby was the flutist, Tongue violinist. Col
den and Tabler banjoists. Ball bones. and
the tambo Then the phantom chorus by
the company. song and chorus. Old Uncle
Ned arranged as chant; Tyrolean war
blngs by Golden. with vocal accompani-
ment; song and chorus, Come Back,
Stephen Hodgson: comb solo, by Tabler.
with the Observation-Disclosures the COM
pany playing marches waltzes and the ac-
compartment of these songs on set of
forty-eight ordinary COW bells. upon which
much time had been spent in tuning.
"Other negro songs I remember are Jim,
Crack Corn Walk Jaw Bone. Dan Tuck
err, Louisiana Belle Lucy Long and 'Clar
de Kitchen We had. when we started,
over one hundred pieces and were continu-