Glenn Jenks
Updated: Oct 10
Glenn Jenks was one of the most distinctive voices in the modern ragtime revival—a gifted pianist, imaginative composer, and enthusiastic champion of a musical tradition that had nearly faded from public attention. His performances were full of energy, humor, and personality, while his compositions revealed a remarkable sensitivity to melody, harmony, and musical structure. Although deeply rooted in the traditions of Scott Joplin, James Scott, and Joseph Lamb, Jenks brought something unmistakably his own to ragtime, demonstrating that a musical style born at the turn of the twentieth century still had plenty of room to grow.
Glenn Arnold Jenks was born in Boston, Massachusetts, on February 9, 1947, and grew up in nearby Wellesley. Music entered his life almost immediately. A family photograph shows him at approximately two years old, sitting on a piano bench in his diapers, his hands already positioned over the keys as though preparing to give a recital. Another early photograph captures him conducting Rossini in front of the family phonograph. Clearly, music was going to play an important role in his life!
As a teenager, Jenks studied piano with David DeLisle at the Wellesley branch of the New England Conservatory. He later attended Earlham College in Richmond, Indiana, graduating Phi Beta Kappa with a degree in music. His classical training gave him a strong foundation in composition, theory, and piano technique, all of which would eventually find their way into his remarkably sophisticated ragtime compositions.
From the Classroom to the Concert Stage
After college, Jenks spent three years teaching at private schools. But the prospect of making music professionally proved too tempting to resist. In 1975, he left teaching behind and embarked on a career as a traveling musician, performing folk music, ragtime, and other traditional American styles.
That same year, he joined forces with country singer, songwriter, and humorist Jud Strunk. Although Jenks would eventually become best known as a pianist, he initially toured with Strunk as a guitarist and vocalist. For the next three years, the pair traveled throughout North America, performing everywhere from intimate clubs to Las Vegas showrooms and summer musical theaters.
Their performances placed Jenks alongside some impressive company, including the Manhattan Transfer and Andy Williams. These experiences exposed him to a wonderfully diverse musical world and helped develop the versatility and engaging stage presence that would become trademarks of his later performances.
In 1978, Jenks decided to concentrate on his solo career, and the following year he made his recording debut. Over the years, he released a substantial collection of recordings on labels including Fretless, Stomp Off, and independent imprints, showcasing his talents as both a performer and composer.
During the 1980s, Jenks also became involved in the New Vaudeville revival, providing piano accompaniment for theatrical and variety performances. His ability to move effortlessly between classical music, ragtime, folk traditions, and theatrical entertainment made him an unusually versatile musician.
Keeping Ragtime Alive
By the time Jenks began composing rags in the early 1970s, ragtime was experiencing a remarkable resurgence. Recordings of Scott Joplin's music by pianist Joshua Rifkin had helped introduce the genre to a new generation, and the enormous popularity of the 1973 film The Sting would soon bring Joplin's music to millions of listeners.
Interestingly, Jenks had already composed his first rag, Red Beard Rag, in 1972—before The Sting transformed ragtime into a nationwide sensation. His attraction to the music was clearly more than a passing response to a popular trend.
Over the following decades, Jenks became a familiar and much-loved presence at ragtime festivals across the country. His performances were known for their vitality, musical intelligence, and infectious good humor. He understood that ragtime was not simply a matter of playing syncopated notes at a brisk tempo. The music needed shape, character, elegance, and, occasionally, a mischievous wink.
One of his most important contributions to the ragtime community was the annual Harvest Ragtime Revue, which he produced for eleven years in Camden, Maine, beginning in 1989. The event brought together accomplished performers and enthusiastic audiences to celebrate ragtime and related American musical traditions.
Jenks was also a dedicated teacher. Later in life, after reducing his touring schedule, he devoted more of his time to private instruction in piano and music theory. His enthusiasm for music was matched by his genuine pleasure in helping students discover their own abilities.
A Composer with a Voice of His Own
Although Jenks was an accomplished pianist and entertainer, his greatest musical legacy may well be his compositions.
Over a period spanning more than four decades, from 1972 to 2014, he created 34 original ragtime works for solo piano. While many contemporary ragtime composers experimented with jazz idioms, unconventional structures, and increasingly complex musical languages, Jenks generally remained close to the architecture of classic ragtime. He favored the familiar multisectional forms and rhythmic patterns established by Joplin, Scott, and Lamb, but filled them with fresh harmonic colors, intricate inner voices, and melodies of extraordinary warmth.
His music could be exuberant and playful one moment, deeply introspective the next. A Jenks rag might begin with the comfortable familiarity of a turn-of-the-century parlor piece, only to wander into unexpected harmonic territory. Yet these surprising turns rarely seemed forced. His innovations grew naturally out of the musical material, making his compositions sound both traditional and refreshingly new.
Consider The Harbour Rag (1975), one of his best-known works, which combines the spirited energy of classic ragtime with his own distinctive personality. Queen of Violets (1989), by contrast, reveals his wonderfully lyrical side, with delicate melodies and a tender, almost nostalgic atmosphere.
Then there is Gymnoraggy (1993), a delightful musical experiment that combines the dreamy character of Erik Satie's Gymnopédies with ragtime syncopation. It's an unlikely pairing, but one that demonstrates Jenks's imagination and affection for both classical music and ragtime.
His interests extended well beyond music. Jenks was an enthusiastic birdwatcher and knowledgeable gardener with a particular fondness for roses. These interests occasionally found expression in his compositions. The Ragtime Hermit Thrush (1986), subtitled An Ornithological Serenade, incorporates musical gestures inspired by the song of the hermit thrush.
Jenks also possessed a wonderful sense of humor. His compositions include titles such as Too Many Beans, Desperation Tango, and The Ragtime Hurricane, suggesting a composer who took his craft seriously without taking himself too seriously.
His final rag, Duffy (2014), offers a particularly touching conclusion to his creative journey. Gentle and somewhat melancholy, it demonstrates how far his musical language had developed since Red Beard Rag more than forty years earlier.
Beyond his piano rags, Jenks composed a string quartet in ragtime, a ragtime piano concerto, chamber music, songs, and numerous works outside the ragtime tradition. His compositional imagination was never confined to a single genre.
A Lasting Ragtime Legacy
Glenn Jenks passed away on January 21, 2016, at the age of 68, leaving behind an extraordinary body of music and countless admirers throughout the ragtime community.
Those who knew him remembered not just his musical abilities but also his warmth, generosity, and seemingly inexhaustible enthusiasm. Whether entertaining an audience, sharing his knowledge with fellow musicians, or helping a student master a difficult passage, Jenks approached music with a spirit of genuine joy.
His complete collection of 34 piano rags was published in 2020, providing performers and scholars with an opportunity to appreciate the full scope of his achievement. The collection reveals a composer whose music consistently balanced craftsmanship with spontaneity, sophistication with accessibility, and reverence for tradition with a willingness to experiment.
Perhaps that is the most remarkable thing about Glenn Jenks. He understood ragtime's history, respected its conventions, and loved its pioneers. But he never treated the music as a museum exhibit. For Jenks, ragtime remained a living, breathing art form—one that could still surprise, delight, and move an audience.
His compositions ensure that his distinctive musical voice will continue to be heard, reminding us that some of the most rewarding discoveries in American piano music are found not only among the famous masters of the past, but also among the remarkable composers who followed in their footsteps.
Special Note
In 2026, pianist Corte Swearingen undertook an ambitious project to preserve and celebrate Jenks' musical legacy with the release of The Complete Ragtime Works for Piano on the American Piano Music label. Presented in two volumes, this landmark recording marks the first time all 34 of Jenks' ragtime compositions have been brought together in a complete recorded collection. Spanning more than four decades of creativity, from 1972 to 2014, the collection reveals the remarkable range of Jenks' musical imagination, from exuberant, rhythmically dazzling rags to more reflective and lyrical works. You can find details of the two-volume digital album in the Albums section of this website.
Selected Performances
Queen of Violets (1989): This wonderful piece represents a perfect example of contemporary ragtime lyricism. Jenks evokes a sense of yearning and sensitive reflection with his delicately crafted melodies. This is one of my favorite modern ragtime compositions.
The Alchemist (1991): The Alchemist, subtitled ‘A Ragtime Concoction,' is another lovely example of contemporary ragtime writing. I have to believe that Jenks had the classic ragtime composer Joseph Lamb in mind when he wrote this piece, as the pure poetry of the music bears more than a passing similarity.
Pacific Coast Rag (1975): What a fun piece! Pacific Coast Rag exemplifies the best qualities of sticking with the traditional ragtime form of the early 1900's, but bringing in some new and fresh perspectives. This was the 8th ragtime piece Jenks composed and it was written in 1975. As you listen to it, keep in mind it was composed when he was only 28!
The Ragtime Hurricane (1984): "The Ragtime Hurricane" stands as the exhilarating conclusion to Glenn Jenks' captivating piano suite, "A Ragtime Trilogy." This ragtime composition is a whirlwind of musical energy, earning its name as it sweeps through the keys with relentless speed and intensity. Clocking in at a brisk 3 minutes, this final movement is a testament to Jenks' mastery of the ragtime genre.
For a lot more video performances of Glenn Jenks' music, please check out my Glenn Jenks Playlist on YouTube.
Locating the Music
Jenks published a folio of his ragtime music called "A Garden of Ragtime" through Squanlake Music back in 1993, but it appears Squanlake is no longer in business. However, not all is lost! A brand new folio of Glenn Jenks' music was published by SMP Press in 2019 as digital download. Click here to purchase The Complete Ragtime Works for Piano. The piece Planxty is not included in the ragtime folio, but is available separately here.
List of Piano Compositions
Ragtime Compositions
Red Beard Rag (1972)
Sincerity Rag (1974)
The Florida Rag (1974)
Bachelor’s Two-Step (1974)
The Spice Box Rag (1974)
The Harbour Rag (1975)
A Ragtime Seabreeze (1975)
Pacific Coast Rag (1975)
The New Black Eagle Rag (1975)
The Black Preacher (1975)
The Exemplar (1976)
Roulette Rag (1977)
A Ragtime Trilogy (1984)
I. French Lace
II. Desperation Tango
III. The Ragtime Hurricane
The Ragtime Hermit Thrush (1986)
Elegiac Rag (1986)
The Wrong Rag (1987)
The Alchemist (1987)
Nutcrackers (1988)
Sosúa (1988)
Queen of Violets (1989)
Desdemona (1989)
Triskelion (1993)
I. The Old Pink Piano
II. Gymnoraggy
III. Too Many Beans
Sweet Harriet (1996)
Regularity Rag (1997)
Mount Olive (1999)
Urbana Fox Trot (2001)
Stolen Moments (2003)
A Breeze From Damariscotta (2004)
Spider in the Tub (2005)
Duffy (2014)
Pelican Rag (manuscript lost)
Solo Piano Non-Ragtime Compositions (composition dates unknown)
Three Irish Fantasies
I. Tir na n’Og
II. Lughnasa
III. Planxty - Jim Stewart
Waltzes
I. Moderately, with tentative affection
II. Lively, with some abandon
III. Wistfully, and with coyness
IV. Sweetly, and with brightness and grace
V. Very slowly and darkly
VI. Wonderfully
Cinco Danzones
I. Amiga Mia
II. Arrogancia
III. Paloma Blanca
IV. Promesas Rotas
V. No, Todavia, No
Lyric Suite
I. Prelude
II. Burlesca
III. Bagatelle
IV. Danza: Las Manos de mi Padre
V. Courante
VI. Barcarole
