1902

1902: Under the Bamboo Tree

J. Rosamond Johnson (1873–1954); Robert “Bob” Cole (1868–1911)

I first heard “Under the Bamboo Tree” when I watched Judy Garland and Margaret O’Brien sing it in the 1944 film, Meet Me in St Louis. This was in 1961. The composer, John Rosamond Johnson, had studied at the New England Conservatory of Music and started his musical career as a public school teacher in Jacksonville, Florida, where he was raised. In 1899, Johnson and his older brother, James Weldon Johnson (a prominent civil rights leader) moved to New York to pursue a career in show business, and in 1900, he began a successful collaboration with Bob Cole. “Under the Bamboo Tree” was one of their first efforts. They also produced a popular all-Black operetta, The Shoo-Fly Regiment (1906), for which the musical director was James Reese Europe, as well as The Red Moon (1908), a Native American operetta, for which the Iroquois Nation made J. Rosamond Johnson an honorary chief.
J. Rosamond Johnson is probably best known for the song, “Lift Every Voice and Sing.” He composed the music and his brother wrote the lyrics. It was so popular that the NAACP dubbed it, “The Negro National Anthem.” The multitalented Johnson was also an actor and an original cast member of Gershwin’s Porgy And Bess (1934). 

Comments

2 responses to “1902”

  1. Clyde Kaplan Avatar
    Clyde Kaplan

    There it is! One of my favorites out of the hundred songs. Thanks for the background information.

  2. Jacek Avatar

    This was one of two “love on first listen” songs in the first decade (the other being, of course, Nobody). Can’t beat these melodies, can you? There’s something I’ve been learning from a deep dive into Haruomi Hosono that I should have realized earlier: when I’m writing a song, I need to make damn sure the verse and the chorus are going to be equally catchy. No one should be able to recognize a song’s chorus just because it’s the catchier bit.

    The lyrics are irresistible too. Great rhymes (“seized her / squeezed her” !), delightful chorus. Whatever skepticism the exoticizing first verses could raise gets flattened by the “yeah, but hey, it’s true here too” last verse. The endless song!

    Also, I’m always up for an ode to getting married fast. My wife and I dated for less than six months.

    And Peter’s vocal delivery, man — when he gets all earnest-whispery at 1:48…!

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