We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
the French releases was of an American tune and that was a commercial "pop" number. The Nazis not only successfully withdrew our records from, the market but succeeded in removing American composers from the lists also. The fact that none of the jazz reissues mentioned in the September-October 1941 Supplement could be found in the shops tends to show how completely the stigma of American jazz had been stamped out. The jazz of Armstrong, Oliver and the Chicagoans had been replaced by a Nazified French variety.
This fact is painfully borne out by the records listed below* — all of which were recorded under the Nazi occupation. A glance at the titles and instrumental combinations is anything but heartening. Unfortunately, I was unable to listen to any of these releases but a young Frenchman I met assured me that only0 three or four of the records released since the occupation had any musical value. Incompetent experimentation seems to have forced French jazz music to an effete and unwholesome nadir. Django Reinhardt and the Quintette of the Hot Club of France has led the way and the French jazzists followed. In fact, Django seems to be the guiding light of presentday French jazz. His name and personality are everywhere in evidence. The Nazis apparently approved of his brand of music which should bring hosannahs from the purists.
The young man I mentioned above was an invaluable source of information. He was a member of a local jazz band and a "record fiend" in the best sense of the word. His preference was for the jazz of Oliver and Armstrong rather than the "modern" forms. He maintained that French jazz died with the Nazi occupation.
He advanced many reasons for this state of affairs. Foremost was the fact that the Nazis forbade negroes to play in orchestras and French musicians to play in a negroid style. The result was inevitable. The jazz musicians either went underground or stopped playing jazz entirely. Others fled to Switzerland, England and South America for racial or political reasons. The negro has always
had a powerful influence on the French jazz musician and, robbed of his major inspiration, the French musicians' plaving deteriorated rapidly. Like Panassie,'my friend's praise for negro musicians knew no bounds. His views on white musicians interested me, particularly his contention that the white French musician is a better jazz musician than the American white. However, in his estimation, both are vastly inferior to the American negro.
I would like to correct an erroneous impression most Americans have in regard to the attitude of the French toward jazz. I, for one, was under the mistaken impression that in France jazz enjoyed a wider acceptance than it does in America. Perhaps it does in Paris and the northern area but not in the southern and central sections. Here people regard real jazz and negro music as bad music (la musique mauvais) . Their taste seems to run toward tangos, rhumbas and waltzes.
Does that mean that there is no hope for jazz in postwar France? Far from it! During my short stay in the country I found much evidence of renewed interest in jazz. The collector I spoke about earlier is an encouraging example. Not only has he a fairly good record collection but he and his friends have formed a small jam band — trumpet, clarinet, violin, guitar and drums. I had the opportunity of hearing them play and they have the right idea. The trumpet player in particular impressed me. He showed the influence of New Orleans rather than that of James and "Little Jazz," for which I am duly thankful. Let's hope that the postwar flood of American jive doesn't make him forget his New Orleans inspirations.
*Sgt. Pflug-Felder listed 53 records on the Swing label, 7 on French, Odeon, 6 on French Pathe, 5 on French Columbia and 4 on French HMV, complete with personnels. On paper the jazz of France is simply too dreary to contemplate and is not shown here. Michel Warlop and his String Septet: 4 violins, 2 guitars, 1 bass; Andre Ekyan: saxophone solo accompanied by 2 guitars, bass and drums. Gits Viseur and his Orchestra : accordion, clarinet, 2 guitars and bass. Dany Kane and his Orchestra: harmonica, tenor sax, guitar, bass and drums.
4