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James Scott
James Scott
American ragtime composer
1
Scott Joplin
Scott Joplin
American composer, musician, and pianist
2
Artie Matthews
Artie Matthews
American songwriter, pianist and ragtime composer
3
Charles L. Johnson
Charles L. Johnson
American composer
4
Arthur Marshall
Arthur Marshall
American composer and pianist
5
Percy Wenrich
Percy Wenrich
American composer
6
David Thomas Roberts
David Thomas Roberts
American composer
7
Louis Chauvin
Louis Chauvin
U.S. ragtime pianist
8
Joshua Rifkin
Joshua Rifkin
American conductor, keyboard player, and musicologist
9
Scott Hayden
Scott Hayden
American composer of ragtime music
10
Dick Zimmerman
Dick Zimmerman
American magician
11
William Albright
William Albright
Composer, pianist, organist
12
James P. Johnson
James P. Johnson
American pianist and composer
13
Wilbur Sweatman
Wilbur Sweatman
American musician
14
Ben Harney
Ben Harney
American musician
15
James Reese Europe
James Reese Europe
American jazz musician and United States Army officer
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Jelly Roll Morton
Jelly Roll Morton
American ragtime and jazz pianist, bandleader and composer
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John Arpin
John Arpin
Canadian ragtime pianist
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William Bolcom
William Bolcom
American composer
19
Eubie Blake
Eubie Blake
Composer, lyricist, and pianist (1887-1983)
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Knocky Parker
Knocky Parker
American musician
21
Original Dixieland Jass Band
Original Dixieland Jass Band
American jazz band
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Tom Turpin
Tom Turpin
American ragtime composer and saloon-keeper
Joseph Lamb
American composer of ragtime music

Joseph Lamb

Intro
American composer of ragtime music
Genres
Music
Joseph Lamb, ca. 1915

Joseph Francis Lamb (December 6, 1887 – September 3, 1960) was an American composer of ragtime music. Lamb, of Irish descent, was the only non-African American of the "Big Three" composers of classical ragtime, the other two being Scott Joplin and James Scott. The ragtime of Joseph Lamb ranges from standard popular fare to complex and highly engaging. His use of long phrases was influenced by classical works he had learned from his sister and others while growing up, but his sense of structure was potentially derived from his study of Joplin's piano rags. By the time he added some polish to his later works in the 1950s, Lamb had mastered the classic rag genre in a way that almost no other composer was able to approach at that time, and continued to play it passably as well, as evidenced by at least two separate recordings done in his home, as well as a few recorded interviews.