Will H. Dixon was born August 29, 1879, in Wheeling, West Virginia, into a musically inclined African American family. His father, John H. Dixon, was a barber and musician, playing second alto in an all-Black brass band, which likely influenced Dixon’s early interest in music. His mother, Mary Putnam, came from Ohio, and together they raised their children in a segregated community.
Dixon was one of nine siblings, though only three—John H. Dixon Jr. (born 1873), Harry E. Dixon (born 1885), and Estella Mae Dixon (born 1889)—survived beyond childhood. He attended the Lincoln School, a segregated institution in Wheeling that educated Black children in Ohio and Marshall counties. In the 1890s, his family moved to Chicago, Illinois, seeking better opportunities. There, Dixon likely received formal instruction in piano, harmony, and composition, which helped him develop into a skilled arranger, composer, and conductor.
Dixon’s career flourished in Chicago and New York, where he became a pianist, composer, bandleader, and playwright. He was a founding member of the Memphis Students Company, an elite African American musical troupe that performed extensively in New York and Europe. His contributions to ragtime, early jazz, and musical theater helped shape early American music.
The Memphis Students Orchestra were the progenitors of “The Art of Cabaret,” “Trapp Drumming,” “Perfecters of Syncopation,” the “Dancing Conductor” and “Four-part harmonization.” According to James Weldon Johnson, the Memphis Students were the first band to play early jazz on a New York stage.
Will H. Dixon was married in 1912 to Madam Seay aka Maude M. Seay, and together they had a daughter, Francesca “Frankye” A. Dixon. Francesca was born on June 1, 1915, in Cook County, Chicago, and she followed in her father’s footsteps as a classical pianist and concert artist. She became a faculty member at Howard University, where she taught music and carried on her father’s legacy in the field.
Francesca was highly accomplished, earning degrees from Juilliard, NYU, and Columbia University’s Teachers College. She toured the country during the 1941–42 concert season, performing alongside R. Louise Burge, a renowned contralto. Her career was marked by collaborations with prestigious orchestras, including the New York Philharmonic Symphony Orchestra and the NBC Symphony Orchestra, under the baton of Léopold Stokowski.
Dixon’s family background highlights his musical lineage, with his daughter continuing his legacy as a classical concert pianist and music educator.
Will H. Dixon’s influence on early jazz and ragtime was profound, particularly in the realms of conducting, composition, and stage performance. His expressive conducting style, which involved dancing out the rhythm, set a precedent for later jazz bandleaders, most notably Cab Calloway. Civil rights activist James Weldon Johnson praised Dixon’s ability to lead a band with graceful and sometimes grotesque steps, ensuring that musicians stayed engaged and in sync.
Influence on Jazz and Ragtime
Dixon was a pioneering figure in the transition from ragtime to early jazz, blending classical influences with popular music. His compositions, such as Mirabella: A Mexican Serenade and Dance of the Bugs, showcased syncopated rhythms that would later become hallmarks of jazz. His work with the Memphis Students Company, a prestigious African American musical troupe, helped introduce Black American music to European audiences, influencing the global perception of jazz.
Impact on Stage Performance
Dixon’s theatrical presence and showmanship influenced the way jazz musicians engaged with audiences. His energetic conducting style was later adopted by performers like Cab Calloway, who incorporated exaggerated movements and audience interaction into his performances. Dixon’s ability to blend humor with musical precision made him a favorite among vaudeville performers, including Sophie Tucker, Ethel Levy, and Eva Tanguay.
Legacy in Composition and Collaboration
Dixon collaborated with Bert A. Williams, George Walker, Henry S. Creamer, and Joe Jordan, contributing to the development of African American musical theater. His compositions were performed by popular vaudeville singers, further cementing his reputation as a respected composer and bandleader. His influence extended beyond his lifetime, shaping the conducting techniques and stage presence of jazz musicians in the 1920s and beyond.
Will H. Dixon was known for his charismatic stage presence, which made him a standout figure in early jazz and ragtime circles. His appearance was described as dapper and refined, often dressed in formal attire that reflected his role as a conductor and performer. He frequently wore tailcoats, crisp white shirts, and bow ties, embodying the elegance of early 20th-century musicians.
His personality was lively and engaging—he was not just a musician but also a showman. Dixon had a theatrical flair, which extended to his conducting style. He was dubbed “The Original Dancing Conductor” by Johnson/
“He would dance out the rhythm while leading his band, using exaggerated movements to keep his musicians in sync and energized.” His expressive gestures and dynamic energy made him a favorite among audiences and fellow musicians alike.
Dixon’s unique characteristics included his ability to blend humor with musical precision. He was known for his playful yet disciplined approach to conducting, ensuring that his musicians stayed engaged while delivering high-quality performances. His influence on stage presence and conducting techniques was later seen in performers like Cab Calloway, who adopted similar theatrical movements.
Will H. Dixon’s works were well-received during his lifetime, particularly within the African American musical and theatrical communities. He was recognized as a talented musician, composer, singer/songwriter, unsung playwright, orchestra conductor, and a theatrical performer, contributing to the early development of ragtime, early jazz and musical theater. His compositions and stage performances were praised for their energy, originality, and ability to engage audiences.
Dixon was a key figure in the Memphis Students Company, a prestigious African American musical troupe that performed extensively in New York and Europe. The group was highly successful, with over 100 performances at Proctor’s and Hammerstein’s Victoria Theatre before embarking on a European tour. His conducting style, which involved dancing out the rhythm, was admired by contemporaries like James Weldon Johnson, who noted that Dixon’s expressive movements kept musicians in the perfect mood for their performances.
His compositions were performed by popular vaudeville singers of the time, including Sophie Tucker, Ethel Levy, and Eva Tanguay. Dixon collaborated with Bert A. Williams, George Walker, Henry S. Creamer, and Joe Jordan, further cementing his reputation as a respected composer and bandleader.
Despite his early death in 1917, Dixon’s influence persisted, particularly in the development of jazz orchestration and conducting techniques. His unique style of leading a band was later popularized by Cab Calloway, who adopted similar theatrical movements in his performances.
As the Custodian and Guardian of the Barnes/Dixon/Myers Historical Harlem Papers, Archives and Musical Manuscripts Collection, Lawrence H. Levens is working to restore this Ragtime Conductor Will H. Dixon to his rightful place in the annals of American Music History.
