James Reese Europe was a major figure in New York's African American musical community in the years leading up to World War I, collaborating with Eubie Blake and Noble Sissle and working closely with the popular dance team of Vernon and Irene Castle. With the outbreak of war, Europe formed the Hell Fighters Band, part of the African American 369th U.S. Infantry. The band returned to the to great acclaim in February 1919, and the 24 tracks heard here were recorded in New York between March 3 and May 7 of that year. Two days later, Europe was stabbed to death by a disgruntled drummer, Herbert Wright, during an intermission in a Boston concert.

Though he was a titanic figure-- Europe was the first African American officer to lead men into battle and Eubie Blake called him "the savior of Negro musicians"--his fame soon turned to obscurity. In 1995, Reid Bodger's thorough biography of Europe , A Life in Ragtime, appeared, rekindling widespread interest, and the following year saw the appearance of this music on two different CDs. A large band of brass, reeds, and percussion, with vocals by Noble Sissle, Europe 's orchestra plays the popular music of the day with a distinctive spirit and a marked rhythmic fluency uncommon in orchestral ragtime. W.C. Handy is prominent in the repertoire ("St. Louis Blues," "Hesitating Blues," "Memphis Blues"). The songwriting team of Europe , Blake, and Sissle ranges in their subject matter from "Jazz Baby" to the wartime experiences of "No-Man's Land." Europe 's associate Tom Bethel contributed "That Moaning Trombone" with its vocal effects, while "Clarinet Marmalade" comes from the Original Dixieland Jazz Band. Despite the references to jazz, though, this is a band poised on the jazz era, not a jazz band, with improvisation mostly limited to brief "breaks." Songs from White and African American composers alike contribute to the complex representation of black life in , one alive with both stereotypes and new possibilities.

Another edition of these recordings, James Reese Europe appeared a few months earlier on the IAJRC label with the tracks arranged in chronological order of recording rather than the pattern here, which simulates the order of one of Jim Europe's concerts. Both versions provide a worthwhile portrait of a major figure in American music; however, they also represent slightly different philosophies of sound restoration. The IAJRC preserves much of the static to avoid loss of detail; the Memphis Archive is much cleaner and generally far more listenable. The Memphis Archive edition also contains substantial supporting material, a detailed 44-page account of Europe 's life and music by Tim Gracyk.

Text courtesy of Stuart Broomer, Amazon.com