Jim Europe's Society Orchestra "Down Home Rag" Victor 35359, recorded 1913 James Reese Europe

Jim Europe's Society Orchestra plays "Down Home Rag" on Victor 35359, recorded on December 29, 1913.

Listen for 5 banjo mandolins, 3 violins, clarinet, cornet, trap, and drums, and 2 piano players.

This disc was not a big seller, but it was perhaps redundant from the perspective of record buyers due to the reverse side: the popular Victor Military Band had already recorded "Too Much Mustard" as early as February 11, 1913. That earlier version sold well on Victor 17292. Why did Europe record the same nearly a year later? "Too Much Mustard" was becoming stale by the time Europe recorded it.

In 1913 James Reese Europe enjoyed success through his work with husband and wife dancing team Vernon and Irene Castle, known on vaudeville stages and in Broadway shows. The Castles and Europe's Clef Club musicians were thrown together when hired for a private party, Europe providing accompaniment for the dancing couple. The music was heavily syncopated, the instrumentation atypical for the time.

The Castles found the music ideal for their steps and thereafter performed often with Europe's Exclusive Society Orchestra. The Castles opened a dance school called Castle House, where Europe's musicians regularly played and where his own compositions were featured. He also directed musicians at a nightclub operated by the Castles.

Association with the Castles made Europe's name known in New York society.

Wealthy patrons danced to this music endorsed by the Castles. Musicians who played in what was collectively called Europe's Orchestra, also called the Tempo Club, were steadily employed. In late 1913 Europe had resigned from the Clef Club to form his own Tempo Club.

Sheet music of waltzes and tangos composed by Europe with his associate Ford Dabney sold well. Various society bands organized by Europe were farmed out for formal dances. The Evening Post on March 13, 1914, identified Europe as "the head of an organization which practically controls the furnishing of music for the new dances."

Never before had black musicians enjoyed such respect in New York City.

With the Castles in early 1914, Europe helped popularize the new fox trot, originally a trot but promoted by Europe as a slow dance. It became a standard among dancers, outliving the Turkey Trot, Grizzly, Bunny Hop, and steps with similar animal names (numbers that, in previous years, would have been called two steps were now called fox trots).

The fox trot would be adopted by men in service as their favorite since the dance, when simplified, was relatively easy to master. In a 1920 letter to Noble Sissle, Irene Castle states that Europe was "the first to suggest the slow tempo used for the fox trot."

Europe is quoted in the New York Tribune as saying, "The fox trot was created by a young negro of Memphis, Tenn., Mr. W. C. Handy, who five years ago wrote 'The Memphis Blues.'... Mr. Castle has generously given me credit for the fox trot, yet the credit...really belongs to Mr. W. C. Handy."

Europe's Society Orchestra recorded four titles for the Victor Talking Machine Company on December 29, 1913, and another four on February 10, 1914. Victor marketed the performances as dance music for the home, and labels state "For Dancing."

Victor promotional literature indicates that Europe enjoyed success: "During the past three seasons Europe's Society Orchestra of negro musicians has become very popular in society circles in New York and vicinity, and has played for social affairs in the homes of wealthy New Yorkers and at functions at the Tuxedo Club, Hotel Biltmore, Plaza, Sherry's, Delmonico's, the Astor and others."

In early 1914 Europe signed a contract with the Castles to tour England, France, and other countries, with forty black musicians to be led by Europe, but declaration of war changed those plans.

Vernon Castle, who had been born in England, volunteered to serve in the British Aviation Corps (he died in a plane accident in Texas on February 15, 1918). Although regular public performances of Europe and the Castles ended in 1915, Europe's various dance orchestras were in demand.

Around the time that Europe's work with the Castles ended, Noble Sissle and Eubie Blake became important to him. Sissle took a letter of introduction to the bandleader in the spring of 1916 and was invited to work in Tempo Club orchestras. Sissle soon convinced Europe to send for pianist Blake, then working in Baltimore.