The record changer (Feb-Dec 1943)

party to any mus.ic, art, or literature of consequence; it seems that once this contented class get their mitts on any sort of music, it is degraded to the utter extr e*m ities of sent i • mentalism, exhibitionism and musical cl iche . This is the way of most art, and is known as ' commercialism' , --one of the oldest and most natural processes of civilization. Some say that commercial ism is ruining jazz music. But comme rci al i sm nas always been with jazz. Roy Carew in last month's Record Changer, described its presence in New Orleans of the early 1900's. Look through some old 1927-1931 record catalogs and a rampant j a z z c omm e r c i a 1 i s m will be evident even during 'The Golden Age of Jazz. ' The output of commercial jazz, the music of 'the American middle class, has little effect on true jazz, the music of the American proletariat. Given an aggrieved and hamstrung proletariat, jazz will always be with us. Even today, when all conditions defy the pursuit of the art, jazz holds its own. For proof of this you have only to give those fine Climax recordings of George Lewis' Stompers a turn. This kind of music is actually being played and supported now,-today,--in the heart of proletarian America. I believe that there is more and better jazz where that came from. The body of jazz enthusiasts and record collectors, although composed for the most part of middle class people, have certain qualities which set them apart from that group. Scarcely any of us will not support the daring proposition that in certain fields of endeavor Negroes are equal, man for man, to white people. Such a stand is directly counter to American middle class tradition and precept, a foremost tenant of which is that the Negro is, by nature, inferior to, --nay a different species from, --white humans . However, in spite of the fact that we of the middle class have been drawn to an interest in jazz, I doubt that jazz is much the better for it. I feel that sometimes we have a tendency to regard jazz music as our special province and that we, of all people, are best qualified to pass judgment on all matters pertaining to it, and that, were it not for our interest in the subject, the art would languish and die . True, --we have certain accomplishments to our credit. The records, the books, the jazz sessions and concerts produced by and for the jazz enthusiast are worthwhile enterprises and have served to sharpen the perception of those Concerned. And t-his is important, for every art has two prerequisite s ,- the talent of perception and the talent of creation. But when a group lacks one of these talents no art will be produced. I say that we of the middle class have failed to do much for jazz; we have whetted our own appetites for jazz music, but we have done little to provide a more substantial and timely bill of fare. Nothing new has appeared in jazz since Fletcher Henderson began using four saxes . To those interested in creating circumstances more conducive to the development of jazz music, I would suggest the following course of action : A recreational facility might be established in each large metropolitan area to accommodate a great number of the low-pay dancing and drinking citizenry. Policies to be pursued in such enterprise would be: 1. Rock bottom prices of drinks and admissions; 2. Exceptionally high salaries of musicians and entertainers' 3. Complete control by the clientel of the entertainment policy of the e s t abli shment ; 4. Utter disregard by the management for any opinions expressed by jazz critics, whether competent or i n c omp e t e n t . Of course such an enterprise would require at the outset the subsidy of a well-healed association. Such an enterprise would be a dead natural for the C.I.O., or the cooperative movement, or for any other interest that has a bill of goods to sell to people at the lowest income levels. To me it is quite amazing that such a program has not already been undertaken. Such a project is only one of a thousand ways in which the American proletariat could be brought together for an expression of their will. I will settle for any other. Nesuhi Ertegun, the young man who went west, is back in Washington for the social season. He has favored us this month with a very interesting article, and we hope he will continue to do so . It seems that everybody is making money except Gullickson. Get a load of this: "Thanks to the ad in the Kecord Changer, my King Oliver Southern Stomps went for $65.00. It was bought by CM. Campbell, of Los Angeles. I got 8 bids, and the low was $8.75." Dick Kieber, Chappaqua, New York. A number of our advertisers submitted their ads this month on our new forms (see p. 13). The use of these forms saves us so much work thaf we have decided to charge 10* per item tor classified advertising not submitted on these forms. The reduced rates you obtain by using these forms are shown on page two. Of course for advertising outside the classified sections, it probably would be more convenient for you to type up your lists as you have previously.