Phonograph Monthly Review, Vol. 1, No. 10 (1927-07)

The Phonograph Monthly Review 413 *sii too undeserving of attention. The love for “good, strong military music” (in Anatole France’s words) is innate in human nature and in Stars and Stripes Forever, Semper Fidelis, Liberty Bell, El Capitan, etc., etc., Sousa satisfies this craving in a characteristic American style. Not far be- hind him come Franko Goldman and Arthur' Pryor who have also composed many marches of wide popularity. Excellent recordings are avail- able of nearly all of these, particularly fine are those made by Sousa’s band for Victor; that of Fairest of the Fair, and Stars and Stripes, and Pride of the Wolverines might be singled out. With the exception of the Sousa and kindred marches, popular music as dealt with so far has much in common with the corresponding popular music of other countries. But with ragtime and jazz we come to forms which are overwhelm- ingly original. In the number of works which have recently appeared on the subject of jazz, the part Negro music has played in its genesis has been debated at length; it is sufficient here to say that the jazz of today has succeeded in as- similating whatever Negro, minstrel, semi-folk music, or other influences which went to make it up, and is now a distinct musical form—American to the core. Various European attempts to cre- ate or even to play ragtime or jazz (it was first made known abroad by Jim Europe and his band) from Dajos Bela and his orchestra to Milhaud and Strawinsky, all fail to catch the essential American spirit—indeed it is inevitable that they fail. Such works as Debussy’s Minstrels and Golliwogg’s Cake Walk—recorded by both Victor and Brunswick pianists—, Strawinsky’s Rag- Time, etc., are interesting in themselves, but they are not one-tenth as “American” as the most cas- ual and insignificant jazz record in the monthly releases. It is impossible for other nationalities to capture the “feeling” of jazz, which both at its best and its worst is unmistakably native. It is a pleasure to see the tide turning towards giv- ing good jazz—and much of it is good—the at- tention it deserves, even when such attention takes the form of college professors attempting to compose in its idiom and failing as surely as Europeans. (Witness Edward Burlingame Hill’s Jazz Study for two pianos, recorded by Maier and Pattison for Victor, and his Scherzo played by the same pianists with various Symphony Orchestras; the rakish air, the hint of saxophones and wood blocks are there, but not jazz itself; like Mark Twain’s wife who attempted to cure her hus- band’s swearing by repeating his curses herself, Hill may have the words all right, but not the tune!) Distinctions should be drawn between the early ragtime (Alexander’s Ragtime Band, Darktown Strutters’ Ball, etc.) and the jazz of today; also between the latter and songs which in themselves are merely of the “popular” type until they are “jazzed Up,” i.e. translated into the jazz idiom by one of the real jazz bands. Ragtime records were of course! plentiful during the current popularity of the pieces, before jazz had fully developed. A search must be made of the old catalogues for authentic examples—now withdrawn—since re- cent recordings (like Miff Moler’s series of the Darktown Strutters’ Ball, etc.) excellent as they may be in themselves, are done in the modern manner, jazzed up in fact. The songs of Irving Berlin, Romberg, Friml, George M. Cohan, et al , are more often strictly “popular music” than “jazz”; the difference is difficult to explain, but is quite evident to anyone acquainted with the works in question. Berlin’s Blue Skies exem- plifies them well; actually it is a salon piece that has been adapted for dancing; the difference in genre between it and a piece like Muddy Water is apparent even in the published piano and voice arrangements. Another type, more closely allied to ragtime, but with strong salon qualities, is represented by Felix Arndt’s Nola. (Recorded by its composer for Victor). Jazz today reaches its apotheosis in the works of George Gershwin on one hand and the more Negroid “hot” or “blues” jazz on the other. The later types (the designation of “hot” can be ap- preciated only by those who have heard a few examples) are best when played by Negro orch- estras. Records are particularly plentiful and characteristic in the Okeh releases, although those of the Charleston Chasers (Columbia) and vari- ous “jug-blowing” and similar bands for Victor and Brunswick adequately demonstrate the “thermometer-bursting” heat of hot jazz (hear the Memphis Shake by the Dixieland Jug Blowers, After She’s Gone by the Charleston Chasers, or It Takes a Good Woman to Keep a Good Man at Home, by the Five Harmaniacs). Hot jazz is paralleled in white bands by the correctly termed “noisy” jazz, exemplified by the incredibly strid- ent records of Ted Lewis (Tiger Rag—Columbia —is typical). Other types which can only be mentioned are “refined” or “ball-room” jazz (Paul Whiteman was long the leader here, though of late the Park Lane Orchestra and many others are equalling his successes), “snaky” or quaisi- oriental jazz, and an unnamed type of very sonor- ous jazz, which, when well played and recorded is extremely striking. Gershwin’s Rhapsody in Blue, recorded by the composer and Paul Whiteman (Victor), is of course the most adequate and characteristic ex- ample of pure native jazz—America’s most sig- nificant contribution to the “lively” arts. Nor are pieces like Sweet and Low Down, I’ll Build a Stairway to Paradise, Do It Again, Clap Yo’ Hands, Do-Do-Do, etc., by the same composer less noteworthy; the last two as piano solos played by Gershwin himself for Columbia must be re- commended unreservedly with the Rhapsody as necessary for a clear understanding and appre- ciation of jazz that has attained virtues that are both artistic and musical, as well as intensely and exclusively native. Other composers like Walter Donaldson with his fine Carolina in the Morn- ing and Mindin’ My Business press Gershwin closely. In spite of all the horrified shouts of “barbarian vulgarity” or the patronizing, “Clever —but is it music?”, jazz continues to be written and developed, and the fact becomes more and more evident that here is an authentic native school of composition. (Concluded in the next issue)