CHAPTER 4

THE JAZZ AND MUSICAL THEATRE SONGS

The Jazz Songs
Jazz, influenced by African-American spirituals and the blues, not only became an
important component of Bonds’s solo vocal repertoire, but also influenced her musical theatre
songs and art songs. It is also no surprise that Bonds was a gifted composer of song in both
genres. Many of Bonds’s musical theatre and jazz songs provided a steady source of income.
These compositions also brought her national recognition as a composer of popular song.
On June 12, 1936, Margaret Bonds expressed in a letter to Langston Hughes, “I am never
satisfied with my harmonies of popular songs. However, Mr. Ellington is such a clever musician
that he will most likely put his own harmony to the melody if he plays it himself.” 119 Despite
Bonds’s opinion of herself, the success she achieved as a composer of popular song proved that
she was a master of harmony in her own right. “Love’s Runnin’ Riot,” the song mentioned in
Bonds’s letter to Hughes, was being considered by Duke Ellington for a possible recording or
performance, while another popular song composed by Bonds, entitled “Love Ain’t What It
Ought to Be,” had already been performed in 1935 by big-band leader Cab Calloway (1907-
1994) at the Cotton Club, one of the leading nightclubs in Harlem during the 1930s.120 Shortly
thereafter, Bonds revealed in another letter to Hughes that big-band leader Jimmy Lunceford
(1902-1947) “was supposed to make a recording of another number of mine!”121 While Bonds
was still living in Chicago, her popular songs were already being sought after by some of the
biggest names in the jazz industry.
In 1939 Bonds moved to New York and worked as an editor for the Clarence Williams
Publishing Company.122 While there, Bonds became more familiar with jazz by extracting
scores for composers who could not write music.123 This experience had a great impact on
Bonds’s compositional style and is the reason why soprano Charlotte Holloman considered

119
Margaret Bonds to Langston Hughes, 18 February 1937, Yale Collection of American Literature.
120
Helen Walker-Hill, From Spirituals to Symphonies, 176.
121
Margaret Bonds to Langston Hughes, 18 February 1937.
122
ClarenceWilliams (1898-1967) was a significant jazz pianist, vocalist, composer, theatrical producer,
and music publisher who began recording with Vocalion records in 1933.
123
Charlotte Holloman, interview by author.

50
Bonds to be “so innovative in including jazz styles in the classical idioms.”124 It was through the
Clarence Williams Publishing Company that Bonds also gained access to Tin Pan Alley, which
offered her even greater success as a composer of popular song. 125 Bonds recalled those first
years in New York in an interview published by the Washington Post in 1964: “Everybody
would look at me and say ‘look at that poor dopey kid: she wants to be a composer.’ Well I did
it. I made my living on Tin Pan Alley.”126 By 1941 the Glenn Miller Orchestra, Charlie Spivak
Orchestra, and the Woody Hermann Orchestra, as well as other successful small-ensemble jazz
groups of the 1930s and 40s, had performed or recorded popular songs composed by Margaret
Bonds.

Andy Razaf

Not long after Bonds began working for the Clarence Williams Publishing Company, she
collaborated with Andy Razaf (1895-1973), an established lyricist in the popular music industry.
Razaf wrote the lyrics for the popular song “Honeysuckle Rose” as well as the words to the
theme song from the legendary American musical Ain’t Misbehavin’, both composed by Thomas
“Fats” Waller, the latter in collaboration with Harry Brooks. Bonds’s work with Razaf resulted in
a handful of popular song compositions, including “Empty Interlude,” “Radio Ballroom,” and
“Peachtree Street,” which became one of the earliest recordings of a popular song composed by
her. 127
Peachtree Street. “Peachtree Street” is a song about Peachtree Street in Atlanta,
Georgia, and can be heard in a scene of the 1939 Academy Award-winning film Gone with the
Wind. Written in collaboration with lyricists Andy Razaf and Joe Davis (1896-1978), “Peachtree
Street” embodies much of the blues style that is characteristic of Bonds’s popular song
compositions.

124
Ibid.
125
Encyclopedia of Popular Music, 4th ed., Oxford Music Online, Oxford University Press,
“Tin Pan Alley,” accessed May 2, 2013,
http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/epm/53033.
Tin Pan Alley was the “Nickname for the popular songwriting and sheet-music publishing industry centered in New
York from the 1890s to the 1950s.” The name described the tinny sound of the overused pianos that were
commonly played by “pluggers in publishers’ salesrooms.”
126
Christina Demaitre, “Heritage Motivates Composing Career.”
127
Djane Richardson, interview by Helen Walker-Hill.

51
 The first interesting feature found in “Peachtree Street” is the call-and-response that
occurs between the solo vocal line and the right hand of the piano accompaniment, as seen in
Example 4.1.

Ex. 4.1: “Peachtree Street,” mm.10–11.128

Manuscript located in the Manuscripts, Archives, and Rare Books Division of The
Schomburg Center for Research in Black Culture, The New York Public Library.
© Georgia Music Inc., 1939.

Call (Solo Vocal-Line) Response (Instrumental)

Hazell, Porter, and Ullman explain the blues in the book entitled Jazz: From Its Origins
to the Present. “There is another form jazz-musicians use regularly: It’s a 12-bar form invented
by African-Americans. . . called the blues. Unlike AABA songs, in which songwriters invent
their own chord progressions, blues have a fairly standardized sequence of chords. One 12-bar
sequence, in which there is a chord for each measure.”129
Bonds set “Peachtree Street” in an ABBCB form and although she did not use the
standard 12-bar form, choosing a 16-bar form instead, she followed the same method of
harmonization, with one tonic or sub-dominant chord for each measure of the A section, as seen
in the bass line of Example 4.2.

128
“Peachtree Street,” Margaret Bonds Sheet Music Collection, Manuscripts, Archives, and Rare Books
Division, Schomburg Center for Research in Black Culture, The New York Public Library.
129
Ed Hazell, Lewis Porter, and Michael Ullman, Jazz: From Its Origins to the Present (Englewood Cliffs,
NJ: Prentice Hall, 1993), 451.

52
 Ex. 4.2: “Peachtree Street,” mm.12–13.
© Georgia Music Inc., 1939.

The C section, a 16-bar piano interlude, is written in a style called the stride. Made
popular by Harlem pianists such as Fats Waller and the “father of stride” James P. Johnson,
“stride piano was a style of piano playing named for its left-hand figures, with a characteristic
“oom-pah” sound, made by striking a single note low in the bass on the first and third beats of a
measure, and filling in with a chord in midrange on beats two and four.”130 This style “differs
from ragtime in the swing feeling and the right-hand improvisation.”131 Measures forty-four and
forty-five of the piano interlude show Bonds’s representation of stride, as seen in Example 4.3.

Ex. 4.3: “Peachtree Street,” m. 44–45.

© Georgia Music Inc., 1939.

“Peachtree Street,” published in 1939 by Georgia Music, was recorded on Victor

Records by Delta Rhythm Band on December 15, 1939, in New York with Bob Zurke on piano,
featuring cornet player Sterling Bose as the vocalist.

130
Ed Hazell, Lewis Porter, and Michael Ullman, 464.
131
Ibid.

53
Harold Dickinson

Spring Will Be So Sad. Another lyricist with whom Bonds collaborated was Harold
Dickinson (N.d.). In 1940 Bonds and Dickinson wrote the World War II protest song “Spring
Will Be So Sad.” This song was recorded February 20, 1941, on RCA Bluebird Records by the
Glenn Miller Orchestra, featuring vocalists Ray Eberle and The Modernaires.
Bonds divided the E-flat major song into two parts, an A section, comprised of a twelve-
bar verse, and a B section, made up of a thirty-two-bar chorus with a first and second ending.
The melody of the vocal line is one of the most attractive qualities of this song. It is set over a
rich harmonic structure with a piano accompaniment which includes seventh, ninth, diminished,
and augmented chords. Bonds used the flatted seventh of the E-diminished chord found in
measure six in Example 4.4 to magnify the mood of the word “haunts.”

Ex. 4.4: “Spring Will Be So Sad,” mm. 5–6.132

Manuscript located in the Manuscripts, Archives, and Rare Books Division of
The Schomburg Center for Research in Black Culture, The New York Public Library.
© Mutual Publishing Co., 1941.

In the chorus section, Bonds placed a dotted rhythm on the first beat of every other
measure; the first example of this can be seen in measure fourteen (Example 4.5). Bonds may
have demonstrated the melancholy mood of this tune by marking the beginning of the chorus
section “Slowly (with feeling),” also seen in Example 4.5. “Spring Will Be So Sad” was

132
“Spring Will Be So Sad,” Margaret Bonds Sheet Music Collection, Manuscripts, Archives, and Rare
Books Division, Schomburg Center for Research in Black Culture, The New York Public Library.

54
published in 1941 by Mutual Publishing Company. 133 Djane Richardson said in 1990 that she
was still receiving royalty checks from the recording of this song.134 The 1941 recording of
Bonds’s “Spring Will Be So Sad” can be found on the CD entitled The Complete Glenn Miller
and His Orchestra (1938-1942) on Bluebird Records.

Ex. 4.5: “Spring Will Be So Sad,” mm. 14–15.

© Mutual Publishing Co., 1941.

Two popular artists that Bonds composed for were jazz pianist, singer, and songwriter
Nina Simone and jazz singer, songwriter, and actress Peggy Lee (1920-2002). Bonds composed
“A Little Sugar I Had Last Night” in 1961 for Nina Simone. 135 Simone most likely performed
this tune, but the title is not found in the discography of Nina Simone’s records, so it is unknown
whether or not a recording was actually made.
On April 22, 1968, Peggy Lee performed a song entitled “Don’t Speak,” composed by
Margaret Bonds with lyrics by Janice Lovoos, for a live recording produced by Capitol Records
at the Copacabana Club in New York. This record, entitled Two Shows Nightly, has become a
collector’s item, but Peggy Lee was not satisfied with the quality of this recording. She re-
recorded the album at Capitol Studios, but “Don’t Speak” was cut from both albums, and,
unfortunately, the live masters of both recordings of this song were lost.136

133
Christina Demaitre, “Heritage Motivates Composing Career.”
134
Djane Richardson, interview by Helen Walker-Hill.
135
AfricClassical, “Margaret Allison Bonds (1913-1972),” by Dominique-René de Lerma,
accessed July 9, 2011, http://chevalierdesaintgeorges.homestead.com/bonds.html.
136
The Peggy Lee Bio-Discography and Videography, “Studio Years: The Capitol Years (Part 7)” by Iván
Santiago-Mercado, accessed June 10, 2010, http://www.peggyleediscography.com/capitolee2c.html or php.

55
 The Musical Theatre Songs

Introduction

Margaret Bonds, former Chicago girl who now resides in New York, is busy working on
the score and script of a musical for a Broadway show which will set something of a
precedent in better race relations when it is produced.

Oklahoma City Dispatch, July 12, 1947137

Even in Bonds’s musical theatre songs, musical elements drawn from jazz can be found.
Bonds incorporated pitches drawn from blues inflections, syncopations, polyrhythms between
the voice and piano, seventh, ninth, eleventh, and thirteenth chords, modal melodies; and similar
to the jazz songs, the piano always doubles the voice.

Robert Dunsmore and Malone Dickerson

As early as 1934, Margaret Bonds was composing musical theatre songs and incidental
music for dramatic works in Chicago. She ventured into the world of opera by writing a
children’s opera entitled Winter Night’s Dream. This was the only opera composed by Margaret
Bonds. One chorus section from this opera, entitled “Children’s Sleep,” was published in New
York by Carl Fischer in 1942.
The second project, produced in 1936, was entitled Romey and Julie. Bonds collaborated
with Robert Dunsmore on this project as well as on the opera.

Romey and Julie (1936)

Project number three sets out with this production to give to the World an insight into the
wealth of material that the Negro possesses in the way of culture. The folklore of the
Negro is rich in emotional elements. One finds irony, satire, poignancy, wit, song, dance,
and all other elements of merit needed in good drama. . . Sponsored by the W.P.A. this
unit has an acting Company of 63 people many of whom have given years to the
theatre. . . . We hope in the future to be a contributing factor in all that the Negro shall
give to the stage in realism, color, music, and dance.
Henry B. Sweet, 1936138
137
As reported by the Associated Negro Press, “Noted Composer-Pianist Works on B’Way Show Prior to
Tour,” Oklahoma City Dispatch, July 12, 1947.

56
 Romey and Julie, a romantic comedy by Robert Dunmore, Ruth Chorpenning, and James
Norris with musical settings by Margaret Allison Bonds, was performed several times in April of
1936, at The Federal Negro Theatre at 5538 Indiana Avenue in Chicago.
This dramatic work is a three-act play that takes place in Harlem and is a love story
about Romey and Julie, which is loosely based on Shakespeare’s Romeo and Juliet.
Bonds composed all of the musical settings for this play in collaboration with lyricist
Malone Dickerson. These works include one chorus number, incidental music, and thirteen solo
songs. A complete list of these songs can be found in Appendix A.

Langston Hughes and Arna Bontemps

Tropics After Dark (1940)

Hughes, already living in New York, was contracted in 1940 by his colleague Arna
Bontemps to write the lyrics for two theatrical productions, Tropics after Dark and Jubilee: A
Cavalcade of the Negro Theatre, for the Chicago American Negro Exposition, celebrating the
Diamond Jubilee of Emancipation that took place from July 4 to Labor Day of that year. Arna
Bontemps, another important writer and longtime friend of Hughes, served as the cultural
director for the exposition and collaborated with Hughes in writing the lyrics while Margaret
Bonds and Zilner Randolph took on the task of composing the music for the first production,
Tropics After Dark.139 Unfortunately, due to financial problems, only three songs from this
musical were performed at the Diamond Jubilee of Emancipation. Two were composed by
Randolph, and the third was Bonds’s “Pretty Flower of the Tropics.” These songs were
performed as a part of a musical review that took place in a beer hall on July 12, 1940.140 Hughes
explained the situation to Bonds,

I have only three songs left in the show, two of Randolph’s and your PRETTY
FLOWER…The Expo is (confidentially) in a very bad way financially, so I guess we’re
lucky to get what little we did get out of the show. Doubt if we’ll get another penny,
except what we might be able to do with the book and music on our own.141

138
Ibid.
139
Arnold Rampersad, Volume I, 386.
140
Leslie C. Sanders, in The Collected Works of Langston Hughes: Volume 6 Gospel Plays, Operas, and
Later Dramatic Works, ed. Leslie Catherine Sanders (St. Louis: University of Missouri Press, 2004), 159.
141
Ibid., 159.

57
 Although only one of Bonds’s songs was performed at the Diamond Jubilee Celebration,
Arna Bontemps’s commission yielded ten songs. Leslie Catherine Sanders stated that these songs
“move indiscriminately between popular song and the shadows of the blues.”142 Bonds
composed “Market Day in Martinique,” “Pretty Flower of the Tropics,” “Chocolate Carmencita,”
“When the Sun Goes Down in Rhumba Land,” “Cowboy of South Parkway,” “Sweet Nothings
in Spanish,” “Voodoo Man,” “The Way We Danced in Hot Harlem,” “I’ll Make You Savvy,”
and “Lonely Little Maiden by the Sea” for this event. Two of the songs from Tropics After Dark
will be discussed in this chapter.
Lonely Little Maiden by the Sea. Bonds stated that she composed “Lonely Little
Maiden by the Sea” while waiting for a rehearsal to begin at the Apollo Theater.143 This song is
the second song in the series of nine songs found in Tropics After Dark. Bonds composed a
simple, yet charming melody in the key of C major with one modulation to the key of A major
that occurs in measures eight through twelve. The tempo is marked Wistfully, and the form is
ABB. Here, Bonds depicted the rocking waves by positioning a steady quarter note rhythm in
the bass line of the piano accompaniment as seen in measures twelve and fourteen of Example
4.6.

Ex. 4.6: “Lonely Little Maiden by the Sea,” from Tropics After Dark, mm. 11–14. 144
Unpublished manuscript located at The Center for Black Music Research at
Columbia College Chicago, Chicago.

142
Ibid., 159.
143
Helen Walker-Hill, From Spirituals to Symphonies, 150.
144
“Lonely Little Maiden by the Sea,” Margaret Bonds Scores and Sheet Music, Box 19, Series 7, No. 82,
Helen Walker-Hill Papers, Center for Black Music Research at Columbia College Chicago, Chicago.

58
 The vocal line ends on a G5, sustained for nine beats over a descending chromatic scale
found in the bass line of the piano accompaniment, which may have served to depict the sad
emotions of the lonely little maiden by the sea, as seen in measures thirty-two through thirty-four
of Example 4.7.

Ex. 4.7: “The Lonely Little Maiden by the Sea,” from Tropics After Dark, mm. 32–34.

Pretty Flower of the Tropics. “Pretty Flower of the Tropics” is the fourth song in the
series of nine songs composed for Tropics After Dark. As stated in the above quote by Langston
Hughes, it was the only song composed by Bonds that was performed at the Diamond Jubilee
Celebration in Chicago in 1940. This song is comprised of forty-seven measures and is in ABB
form. Bonds placed “Pretty Flower of the Tropics” in E-flat major and began the song with a
musical marking, In the style of the Beguine.145 The Beguine is a popular dance from the West
Indies, the rhythm of which is illustrated in the bass line of measure thirty-five (see Example
4.8). This rhythm was also popularized by Cole Porter in his 1935 song, “Begin the Beguine.”
The vocal line consists of long phrases with wide leaps and a memorable melody. Here Bonds
incorporated text painting by way of the minor sixth leap up to D5 on the word “sunrise,” as seen
in measure thirty-five in Example 4.8.

“Pretty Flower of the Tropics,” Margaret Bonds Scores and Sheet Music, Series 7, Box 19, No. 119,
145

Helen Walker-Hill Papers, Center for Black Music Research at Columbia College Chicago, Chicago.

59
 Ex. 4.8: “Pretty Flower of the Tropics,” from Tropics After Dark, mm. 34–37. 146
Unpublished manuscript located at The Center for Black Music Research at
Columbia College Chicago, Chicago.

The range of “Pretty Flower of the Tropics” is E‫ݟ‬4 to F5.

Be a Little Savage with Me. “Be a Little Savage with Me,” which was composed in
1949, may have been part of a no-longer extant theatrical work. Bonds began this song in
common time with a tempo marking of Bounce. The key signature shifts between F major and B-
flat major. The chorus section includes spoken text, as shown below, with chromatic inflections
in the bass of the piano accompaniment in measures thirty-four and thirty-five in Example 4.9.

Ex. 4.9: “Be a Little Savage with Me,” mm. 32–35. 147
Unpublished manuscript located at The Center for Black Music Research at
Columbia College Chicago, Chicago.

146
Ibid.
147
“Be a Little Savage with Me,” Margaret Bonds Scores and Sheet Music, Series 7, Box 19, No. 97, Helen
Walker-Hill Papers, Center for Black Music Research at Columbia College Chicago, Chicago.

60
 Roger Chaney

Lyricist Roger Chaney, whose dates are unknown, collaborated with Bonds on several
settings of popular and theatrical songs from 1941 to 1958. In 1956 Bonds and Chaney
collaborated on one art song entitled “Rainbow Gold.” Even the musical theatre songs Bonds
composed with Chaney, including “Mist over Manhattan” and “Let’s Make a Dream Come
True,” are composed in the classical tradition with complex piano accompaniments, lyric
phrases, and sophisticated settings of the text. Bonds and Chaney also collaborated with Andy
Razaf on one setting of a popular song entitled “Empty Interlude.” Like most of Bonds’s popular
songs, “Empty Interlude” is written in the style of the blues.

Midtown Affair (1958)

Midtown Affair was written and produced in collaboration with lyricist Roger Chaney in
February of 1958. Four of Bonds’s songs were included in this production: “You Give Me a
Lift,” “Mist over Manhattan,” “I Love the Lie I’m Living,” and “My Kind of Man.”148
My Kind of Man. “My Kind of Man,” the manuscript of which is housed at the Center
for Black Music Research at Columbia College Chicago, was first sung by jazz and blues singer
Alberta Hunter (1895-1984) in 1953 at the Bon Soir, a club in New York.149 Five years later,
Bonds included it as part of the musical Midtown Affair.
Mist over Manhattan. “Mist over Manhattan,” sung by a character who is reminiscing
about the kisses of a lost love, takes place on a dewy Manhattan day. The vocal line is comprised
of lilting lyrical phrases and is always doubled by the piano.
Bonds began “Mist over Manhattan” with a four-measure piano prelude that contains a
two-against-three rhythmic pattern as seen in Example 4.10. This polyrhythmic motif serves as
the thematic music of “Mist over Manhattan.”
The form of “Mist over Manhattan” is AABA with the A section starting on a “misty” A-
half-diminished-seventh chord, allowing the piano to play a role in the dramatic action as seen in
measure five of Example 4.10.

148
Helen Walker-Hill, From Spirituals to Symphonies, 176.
149
Ibid.

61
 Ex. 4.10: “Mist over Manhattan,” from Midtown Affair, mm. 1–5.150
Unpublished manuscript located in the Manuscripts, Archives, and Rare Books Division of The
Schomburg Center for Research in Black Culture, The New York Public Library.

The B section further explores the A-sonority from the opening, this time evoking a
modally inflected A-natural minor. There is a brief excursion to G major that leads back to the
“misty” A-half-diminished-seventh chord of the opening to begin the reprise of the A section in
measure thirty, which ultimately, via circle-of-fifths motion (A-diminished-seventh chord, D-
flat-ninth chord, G-seventh, and A-minor triad), yields to a F-major-seventh chord to highlight
the “kiss” at the end of the song (see Example 4.11).

Ex. 4.11: “Mist over Manhattan,” from Midtown Affair, mm. 32–35 and 38–39.

150
“Mist over Manhattan,” Margaret Bonds Sheet Music Collection, Manuscripts, Archives, and Rare
Books Division, Schomburg Center for Research in Black Culture, The New York Public Library.

62
 As in every style of song Bonds composed, she incorporated word painting. The first
example in “Mist over Manhattan,” occurs in measure eighteen and nineteen, to highlight the
words “Skyline a strange Silhouette” (see Example 4.12). Bonds used the same music in
Example 4.13 at “light glowing high in the air,” where Bonds suspended the words on the pitch
D5. “Mist over Manhattan” has a range of C#4 to F5.

Ex. 4.12: “Mist over Manhattan,” from Midtown Affair, mm. 10–11.

Ex. 4.13: “Mist over Manhattan,” from Midtown Affair, mm. 18–19.

Let’s Make a Dream Come True. Although no date of composition is available for
“Let’s Make a Dream Come True,” the musical style is similar to “Mist over Manhattan” and
may have also been a part of the musical Midtown Affair. The song is an invitation to a love
affair and begins with a four-bar piano prelude. This song contains medium-length arpeggiated
phrases as seen in measures nine and ten in Example 4.14.

63
 Ex. 4.14: “Let’s Make a Dream Come True,” mm. 9–10.151
Unpublished manuscript located in the Manuscripts, Archives, and Rare Books Division
of The Schomburg Center for Research in Black Culture, The New York Public Library.

The form is AABA with each section consisting of eight measures. The A section is in E-
flat major and presents all of the wonderful things that the lovers could do, while the B section
incorporates a D minor melody and contains the lover's plea for happiness. The key and
harmonic progression found in the B section complement the text as the music travels up a tri-
tone to A-natural, allowing the piano to participate in the dramatic action. This happens via
circle-of-fifths motion (A-thirteenth chord, D-ninth chord, A-thirteenth chord, D-ninth chord, G-
minor-ninth chord, C-added-sixth chord, G-seventh chord, C-ninth chord, G-augmented chord,
C-ninth chord) that finally returns to an F-seventh chord in measure twenty-nine, at the reprise of
the A section making the D-minor inspired melody found in the vocal line of the B section “truly
a fantasy.” The first measure of the B section can be seen in measure twenty-one in Example
4.15. The A section continues to move through the circle of fifths ending on an E-flat-major
chord at “Let’s Make a Dream Come True.” This return to the tonic leaves the listener with a
feeling of hope and resolution.

151
“Let's Make a Dream Come True,” Margaret Bonds Sheet Music Collection, Manuscripts, Archives, and
Rare Books Division, Schomburg Center for Research in Black Culture, The New York Public Library.

64
 Ex. 4.15: “Let’s Make a Dream Come True,” mm. 20–21.

The range for “Let’s Make a Dream Come True” is C4 to F5, making it appropriate for
most voice types. The doubling of the piano and voice parts make this especially simple for
intermediate students. The poetry is also accessible to early college-aged students.
Bonds’s success in the field of musical theatre and jazz provided her with a steady source
of income and yielded several well-written songs that make up a unique part of her solo vocal
repertoire. These songs not only reveal her ability to compose in a variety of vocal genres, but
allow researchers to understand how Bonds became “so innovative in including jazz styles in the
classical idioms.”152 Bonds's ability to incorporate classical idioms in her jazz and musical
theatre songs is also evident. Instead of writing typical chordal accompaniments, Bonds chose to
write sophisticated settings of the text and accompaniments. These musical qualities create an
interconnection between every genre in which Bonds composed. Although several of Bonds’s
jazz and musical theatre songs remain unpublished, Bonds achieved a great amount of success in
both genres of music. She not only broke through the confines of racial segregation by
composing at least two popular songs that were recorded by big-bands that consisted of
predominantly Caucasian members (The Glenn Miller Orchestra, The Woody Hermann
Orchestra, and The Charlie Spivak Orchestra), but also composed the popular song “Peachtree
Street,” that was included in the 1939 Academy Award winning film Gone With the Wind, one of
the first Hollywood films to achieve international success. Through these accomplishments,
Bonds attained exceptionally outstanding achievements for an African-American female
composer during the 1940s.

152
Charlotte Holloman, interview by author.

65
 The Jazz Songs

Title Poet/Lyricist Publisher Date

Down South in Dixie Unknown Unpublished 1933
Love Ain’t What it Ought to Be Unknown Unpublished 1935
I’m Going to Reno “Fox Trot Song” Unknown Unpublished N.d.
Love’s Runnin’ Riot Hughes Unpublished 1936
West Coast Blues Dickerson Unpublished 1938
The New York Blues Dickerson Unpublished N.d.
Peachtree Street Razaf and Davis Georgia Music*** 1939
Georgia Razaf and Davis Georgia Music 1939
Spring Will Be So Sad Dickinson Chappell* 1941
Radio Ballroom Chaney Unpublished N.d.
Three Sheep in a Pasture Unknown Clarence Williams 1940
My Kind of Man Chaney Roger Chaney 1953
That Little Sugar I Had Last Night Unknown Unpublished 1961
Don’t Speak Lovoos Unpublished 1968

***All Georgia and Chappell publications are out of print.

The Musical Theatre Songs

Romey and Julie Malone Dickerson Unpublished 1936

Where Are You Tonight? (chorus)
When Ole Love Come Down (Police)
Foolish Things That People Fight About (Police)
Let’s Do a Number (Sadie Green)
Meet My Baby with Bells On (Julie)
Bus De’ Biscuit (Dance Number)
Lady by the Moon I Vow (Romey)
In the Black of a Harlem Night Gonna Meet My Baby (Julie)
Sin Weary (Lady of the Street)
Parting (Romey and Julie)
Spanking the Box (Zinky)
I Been Careless with My Love (Miss Gray)
Hell Dance (Dance Number)

Fantasy in Purple Unknown Unpublished 1937

The New York Blues Dickerson Unpublished 1938

110
Title Poet/Lyricist Publisher Date
Tropics After Dark**** Bontemps and Hughes Unpublished 1940
Chocolate Carmencita
Lonely Little Maiden by the Sea
Market Day in Martinique
Pretty Flower of the Tropics
Sweet Nothings in Spanish
I’ll Make You Savvy
The Way We Dance in Hot Harlem
The Way We Dance in Hot Chicago
When the Sun Goes Down in Rhumba Land

****Individual Lyricists Not Indicated

The Blues I’m Playing Unknown Unpublished 1940

Be a Little Savage with Me Hughes Unpublished 1949
The Price of a Love Affair Ernest Richman Unpublished 1957

Midtown Affair Chaney Unpublished 1958

My Kind of Man
Mist over Manhattan
You Give Me a Lift
I Love the Lie I’m Living

Let’s Make a Dream Come True Chaney Unpublished N.d.

No Good Man Hughes Unpublished N.d.
Cowboy from South Parkway Hughes Unpublished N.d.
Voo Doo Man Hughes Unpublished N.d.

The Art Songs

Sea Ghost Unknown Unpublished 1932

Sleep Song Joyce Kilmer Unpublished 1932
To a Brown Girl, Dead, 1st ed. Countee Cullen Unpublished 1933
Bound Margaret Bonds Unpublished 1939
The Negro Speaks of Rivers Langston Hughes Handy Bros Music c. 1936
p. 1944
Hildegard 1995
Joy Langston Hughes Unpublished 1936
Park Bench Langston Hughes Unpublished 1936
Night Time Langston Hughes Unpublished 1936
Playing with Fire Langston Hughes Unpublished 1936
Silent Love Langston Hughes Unpublished 1936

111
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Discography

Ah! Love, but a day: Songs and Spirituals of American Women. John O’Brien (piano), Jay A.
Pierson (baritone), and Dr. Louise Toppin (soprano). Albany Records/Troy 385, 2000,
compact disc.

Kathleen Battle at Carnegie Hall. Kathleen Battle and Margo Garrett (piano). Deutsche
Grammophon 435-440-2, 1992, compact disc.

Dreamer: A Portrait of Langston Hughes: Songs by W. G. Still, F. Price, K. Weill and Others.
Darryl Taylor (tenor), William Warfield (narrator), Patricia Terry-Ross (harp), and
Maria Corley (piano). Naxos/American Classics 8.559136, 2002, compact disc.

Good News. Dr. Louise Toppin (soprano), Ruth Hamilton (contralto), Robert Honeysucker
(baritone), and Vivian Taylor (piano). Videmus Records VIS 735, 2006, compact disc.

Honky Tonk Train Blues. Bob Zurke (piano). Victor Records/HEP 1076, 2001, compact disc.

I Wish I Knew How It Would Feel to Be Free. Leontyne Price (soprano) and the Rust College
Choir. RCA Victor Red Seal LSC 3183, 1971, 331/3 rpm.

130
Leontyne Price: Return to Carnegie Hall. Leontyne Price (soprano) and David Garvey (piano).
RCA Victor Red Seal B000003G1A, 1996, compact disc.

The Negro Speaks of Rivers and Other Art Songs by African-American Composers. Odekhiren
Amaize (baritone) and David Korevaar (piano). MSR Classics MS 1011, 1999, compact
disc.

Ride On, King Jesus! Florence Quivar (mezzo-soprano), Harlem Boys Choir, Joseph Joubert
(piano), Larry Woodward (piano) and Dr. Walter Turnbull (conductor). EMI
Classics/Angel Records 31542, 1991, compact disc.

Spirituals in Concert. Kathleen Battle (soprano), Jessye Norman (soprano), Sylvia Olden Lee
(piano), and James Levine (conductor). Deutche Grammophon 429 790-2, 1991, compact
disc.

Swing Low, Sweet Chariot Fourteen Spirituals. Leontyne Price (soprano). RCA Victor Red Seal
LSC 2600, 1962, 331/3 rpm.

Interviews

Bonds, Margaret. Interview by James V. Hatch. December 28, 1971, Los Angeles, CA. Taped
Interviews of Musicians. Spoken-Word-CD (1971-1974). Sound Tape Reels: Analog, 3
3/4 ips, Mono; 5 in. James V. Hatch and Camille Billops Papers, 1954-2011. Robert
W. Woodruff Manuscripts, Archives, and Rare Book Library, Emory University,
Atlanta, GA.

Holloman, Charlotte. Telephone interview by author. December 24, 2011, Tallahassee, FL.

McNeil, Albert. Interview by Helen Walker-Hill. December 29, 1989, New York, NY. Cassette
Tape 16. Helen Walker-Hill Papers. Center for Black Music Research at Columbia
College Chicago, Chicago.

Price, Leontyne. Interview by John Pfeiffer. April 1995. Compact disc 11. In The Essential
Leontyne Price. Leontyne Price (soprano). BMG 68513, 1996, 30 compact discs.

Richardson, Djane. Interview by Helen Walker-Hill. October 8, 1990, New York, NY.
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Columbia College Chicago, Chicago.

Taylor, Darryl. Interview by author. June 27, 2008, Irvine, CA.

131
 Journals, Newspapers, and Magazines

American. “Carpenter Present.” June 16, 1933.

Brown, Rae Linda. “Florence B. Price and Margaret Bonds: The Chicago Years.” Black Music
Research Bulletin 12, no. 2 (fall 1990): 11-14.

———. “The Woman’s Symphony Orchestra of Chicago and Florence B. Price’s Piano
Concerto in One Movement.” American Music (Summer 1993): 204.
California Aggie. “Margaret Bonds Performs Today at Noon.” April 22, 1970.

Chicago Defender. “Noted Tenor and Miss Margaret Bonds Star with Symphony.” June 7, 1933.

———. “Famed Chicago Composer’s Rites Set for Tuesday.” May 2, 1972.

Cobb, W. Montague. “Monroe Alpheus Majors.” Journal of the National Medical Association
47, no. 2 (March 1955): 139-141.

Demaitre, Christina. “She Has a Musical Mission: Developing Racial Harmony; Heritage
Motivates Composing Career.” Washington Post, August 14, 1964.

Farwell, Arthur. “Roy Harris.” The Musical Quarterly 18, no. 1 (1932): 18-32.

Gunn, Glenn Dillard. “Margaret Bonds Review.” Chicago Herald Examiner, June 16, 1933.

Harris, Roy. “The Growth of a Composer.” The Musical Quarterly 20, no. 2 (1934): 188-191.

Moore, Edward. “Negro in Music Given Place in Concert of Century of Progress Series.”
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New York Chief. “Cultural Center Aide.” August 3, 1962.

New York Amsterdam News. “Margaret Bonds, Composer Dies, Notated Arranger of Spirituals.”
May 13, 1972.

Oklahoma City Dispatch. “Noted Pianist-Composer Works on B’Way [sic] Show Prior to Tour.”
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Peyser, Joan. “Article Unknown.” New York Times, May 2, 1987.

Schonberg, Harold C. “Debut Recital Given by Miss Bonds.” New York Times,
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Stinson, Eugene. “Review of Chicago Symphony Orchestra Concert.” Chicago Daily News,
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132
Stone, Theodore Charles. “Mayor Proclaims Margaret Bonds Day as Musicians Salute Her.” The
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Tischler, Alice. “A Brief Analysis of Masses by Black Composers: Baker, Bonds, Ray,
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Musical Scores

Bonds, Margaret Allison, Scores. Manuscripts, Archives, and Rare Books Division, Schomburg
Center for Research in Black Culture, The New York Public Library.

———. Peter Jay Sharp Special Collections. Lila Acheson Wallace Library and Archives at The
Juilliard School.

———. Five-Creek Freedman Spirituals. New York: Mutual Publishing, 1946.

Christy, Van and John Glenn Paton, eds. Foundations in Singing. 7th ed. New York: McGraw
Hill, 2002.

Handy, W. C., ed. Unsung Americans Sung. New York: Handy Brothers Music, 1944.

Taylor, Vivian, ed. Art Songs and Spirituals by African-American Women Composers. Byrn
Mawr, PA: Hildegard Publishing, 1995.

Patterson, Willis C., ed. Anthology of Art Songs by Black American Composers. New York:
Hal-Leonard, 1977.

Walker-Hill, Helen, Papers. Margaret Bonds Scores and Sheet Music. Box 18 and 19. Center for
Black Music Research at Columbia College Chicago, Chicago.

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