Hey, Charleston!

October 7, 2013
Founded in Charleston at the turn of the century by Reverend Daniel Joseph Jenkins, a pastor and former slave determined to give homeless African-American children a better life, the Jenkins Orphanage Band created an irresistible hybrid of martial music and the “raggedy, rattly sound” of “rag” from Geechee/Gullah culture, and incubated the talents of men who helped shape American jazz. A trip to New York City launched a global craze for both the music and the dancing that often accompanied it—the “twisting and twirling and tapping their toes, knocking their knees, and flapping their arms”—soon known as the Charleston. Rockwell (Truck Stop) keeps the story focused and lively, with just enough social and emotional framing (Reverend Jenkins “was always looking for a way to turn bad into good” is a recurring refrain) to add resonance. Bootman’s (Love Twelve Miles Long) sepia tones and military blues beautifully evoke a distant time, but his pictures are at their most fun when he shows how the band brought people everywhere to their feet. Ages 7–11. Author’s agent: Michael Bourret, Dystel & Goderich Literary Management. (Nov.)■

September 1, 2013

Gr 2-5-"Hey, Charleston!... Give us some rag!" yelled the street corner crowd some 100 years ago when Reverend Daniel Joseph Jenkins, former slave and orphan himself, founded the Jenkins Orphanage Band. It all began one night in Charleston, South Carolina, when he discovered several hungry, homeless children near the railroad tracks. He fed them and let them sleep in his church. Word traveled fast and soon more orphans came knocking. The Reverend asked city officials for an empty warehouse, which they granted along with $100, but it was unexpectedly noisy-inmates at the neighboring prison banged on the windows and swore all day. Singing with the boys helped mask the unholy racket, but Jenkins thought to collect old Civil War band instruments and hire music teachers, and soon the orphans were playing "rag" to raise money to fund the pastor's dream: a farm where they could grow their own food and be self-sufficient. The boys were descendants of the Gullah people from West Africa, brought to South Carolina as slaves. They played old band songs African style, twisting, twirling, tapping, knocking their knees, and flapping their arms. They became famous enough to play at Teddy Roosevelt's inauguration and were invited to London to perform. When war broke out in 1914, they secured tickets to return to the States in safety and even paid for other stranded Americans' safe return. Rockwell's informative text is lively and accessible, and Bootman's realistic, full-spread paintings capture the era and energy of the musicians and onlookers dancing and clapping to the beat. Use this inspiring tale for jazz units or African American History Month.-Barbara Auerbach, New York City Public Schools

Copyright 2013 School Library Journal, LLC Used with permission.

September 15, 2013
A concerned pastor and a rich musical tradition come together to play an important role in the growth of jazz. In the late 1800s, Rev. Jenkins, born a slave in South Carolina and later orphaned, came across a group of abandoned children. He established an orphanage in Charleston for these children and others like them, all African-Americans. Jenkins led them in singing to drown out the noise from a prison next door. As money was scarce, he came up with the idea of teaching the children to play marching-band music using forgotten Civil War brass instruments. Many of the children, born into the Gullah or Geechee traditions of the islands off South Carolina, enjoyed playing "rag" music. They incorporated this rhythm into their performances and danced while playing. Success followed, with trips to New York, where enthusiastic crowds urged the band to play "Charleston." They performed at Theodore Roosevelt's inauguration and for King George V of England, sailing home in dangerous waters after World War I erupted. Some of the young men grew up to play with Ellington and Basie. Rockwell relates her tale in a fast-paced narrative that will hopefully encourage readers to turn into listeners. Bootman's emotive, full-bleed artwork provides a lively accompaniment. A notable look at a little-known piece of jazz history. (author's note, selected bibliography) (Informational picture book. 5-10)

COPYRIGHT(2013) Kirkus Reviews, ALL RIGHTS RESERVED.

A concerned pastor and a rich musical tradition come together to play an important role in the growth of jazz. In the late 1800s, Rev. Jenkins, born a slave in South Carolina and later orphaned, came across a group of abandoned children. He established an orphanage in Charleston for these children and others like them, all African-Americans. Jenkins led them in singing to drown out the noise from a prison next door. As money was scarce, he came up with the idea of teaching the children to play marching-band music using forgotten Civil War brass instruments. Many of the children, born into the Gullah or Geechee traditions of the islands off South Carolina, enjoyed playing "rag" music. They incorporated this rhythm into their performances and danced while playing. Success followed, with trips to New York, where enthusiastic crowds urged the band to play "Charleston." They performed at Theodore Roosevelt's inauguration and for King George V of England, sailing home in dangerous waters after World War I erupted. Some of the young men grew up to play with Ellington and Basie. Rockwell relates her tale in a fast-paced narrative that will hopefully encourage readers to turn into listeners. Bootman's emotive, full-bleed artwork provides a lively accompaniment. A notable look at a little-known piece of jazz history. (author's note, selected bibliography) (Informational picture book. 5-10) COPYRIGHT(1) Kirkus Reviews, ALL RIGHTS RESERVED.

November 1, 2013
Grades 1-4 This is the little-known story of how Charleston, South Carolina, orphans formed a band and gave America rag music. When Reverend Daniel Joseph Jenkins discovered orphans huddled by train tracks in the late 1800s, he took them in, understanding their lives better than most, as he had been an orphan himself. More and more orphans showed up at his church, and soon the Reverend had plenty of mouths to feed. A hundred dollars from city officials led to the purchase of a warehouse, but the prisoners next door made a racket. That's when Jenkins had an idea: collect old Civil War musical instruments, once used by marching bands, to form the Jenkins Orphanage Band and raise money to buy a farm for the orphans. Soon the band was playing on street corners; many of the kids descended from Geechee or Gullah (the islands around Charleston) and played a style of music called rag. Over the course of the picture book, which covers a lot of territory quickly, the band travels, even to Europe. A fascinating piece of history, complemented by Bootman's hazy full-bleed paintings.(Reprinted with permission of Booklist, copyright 2013, American Library Association.)