Alabama Slide - Fox Trot (Charles L. Johnson, 1915). Published on July 21, 1915 by Forster Music Publisher, Chicago. Structure: INTRO AA BB A CC AA.

Archetype, The (El arquetipo) (Ezequiel Pallejá, 2006). This is a rag version of one of my old jazz compositions, which I used to play with one of the jazz bands I was a member of, in Buenos Aires, probably in 1981. [Ezequiel Pallejá]

Artisan, The (El artesano) (Ezequiel Pallejá, 2006). Another introspective rag, that was created under the conviction of the importance of the personal efforts devoted to the trascendental activities, like the art.. [Ezequiel Pallejá]

Artistic (William Rowland, 1975). "Artistic", is a rag I wrote in 1975 for my sister-in-law Rhonda Fanning, a commercial artist. [William Rowland]

Asiko Rag - An African Reminiscence (Benjamin Intartaglia, 2000). This piece is dedicated to my fiancée, Catherine. Based on Rondo form, it uses call - and - response traditional model of African songs (later employed in American blues and gospel), like the Asiko songs of the Beninese voodoo ceremonies. The 3rd strain uses African rhythms directly from Beninese popular music. [Benjamin Intartaglia]

Atlanta Rag (Charles "Cow Cow" Davenport, 1922). The original was written by Carey Morgan in 1915 and entitled "Trilby Rag". To be honest, the original is not exactly the best rag ever written. Charles "Cow-Cow" Davenport stole a large part of the "Trilby Rag" melody line to create his piano roll recording of "Atlanta Rag" in 1922. Some of the riffs emerged again in 1925 as the theme of his "Cow-Cow Blues" and he happily did a new arrangement of Trilby/Atlanta under the title "Texas Shout" in 1929. In each case he gave himself full compositional credit.

At Midnight (A Medianoche) (Hal Isbitz, 1991). In Frank French's own words, the work of Hal Isbitz "is among the most underappreciated music written today". That it is gaining an audience outside California is owing primarily to Frank's devotion, though the composer himself has recently helped the cause by attending the annual Scott Joplin Festival in Sedalia, Missouri. It is difficult to avoid extremes when discussing Isbitz's work because it is so impassioned, so engaging and so musical. The craftmanship, ambition and romantic sensibility of Isbitz are hallmarks of the finest New Ragtime. His significance would be readily apparent in "At Midnight", which like "Margarita", "Morelia", "The Flirt", and "Blue Gardenia" represents the tango-habaņera-rag hybrid that affords Isbitz his most haunting utterance. Whereas there are numerous New Ragtime composers producing work I believe will be heard many years from now, Hal Isbitz is one of the very few whose music I know will be valued as long as it and the culture from which it issues can survive. [David Thomas Roberts]

This MIDI sequence of "At Midnight" (also called "A Medianoche") was recorded at Jere Debacker's in Denver, Colorado by Frank French in March, 2004.

Attractive Rag (Ezequiel Pallejá, 2006). Ragtimes are attractive for me and for many people. This particular rag was composed with a feeling of a strong attraction to the rag's spirit, that means swing, freedom, joy experience. [Ezequiel Pallejá]