Sludge and Theory

This chapter introduces the “Liza Jane” family of songs and puts forward a basic theoretical framework that explains the creation of “Little Liza Jane,” “Goodbye Liza Jane,” “Steal Miss Liza,” “Oh Liza Poor Gal,” and other variants, by enslaved people on southern plantations. It meditates on the “snatches of song” that inspired composer W.C. Handy as well as sociologist Howard Odum’s observation of “one verse songs,” and also explores possible links to African vocal forms. Before it concludes, the chapter establishes Duke Ellington’s straightforward criterion for why a song such as “Little Liza Jane” might appeal: because it is agreeable to the ear.