Syncopated brass bands evolved out of the brass bands of African American regiments in the Union Army during the Civil War. When the war ended, many of these formally trained musicians joined or formed civilian musical groups; others affiliated with the brass bands of circuses and medicine shows. A few musicians financed themselves, but most of the local bands were sponsored by fraternal and benevolent societies and social clubs. These bands consisted of 12 to 14 members and performed a diverse repertoire. They played for political rallies and Election Day ceremonies, funerals, dances, and other cultural and social functions for Blacks and whites.

In New Orleans and other southern cities, a significant number of brass bands transformed into syncopated bands while remaining at the center of religious and social activities. They accompanied funeral and burial processionals, mournfully playing a dirge or hymn while bereaved participants walked slowly to the cemetery. On the way back the bands played an up-tempo spiritual, a syncopated march, or a ragtime song. Syncopated brass bands also played for dances where musicians collectively improvised and “ragged” songs, eventually defining a New Orleans–styled jazz. W. C. Handy’s “Memphis Blues” (1919) performed by James Reese Europe’s Syncopated Brass Band of Harlem represents this ragging style.

Local amateur musicians also formed syncopated brass bands, providing entertainment for various working-class community functions. These bands are represented by The Laneville-Johnson Union Brass (“I’m Going On”), The Lapsey Band (“I Shall Not Be Moved”), and Bunk’s Brass Band (“Didn’t He Ramble”).

Trumpets or cornets, trombones, horns, clarinets, and drums form the standard instrumentation for brass bands. They applied a “ragging” approach (similar to ragtime style) to playing the melody of hymns, spirituals, popular songs, and marches.