The record changer (Mar 1945-Feb 1946)

LEMME TAKE THIS CHORUS Readers are invited to have a good took at Frederic Ramsey's article in this issue. Mr. Ramsey reveals that during the war the Office of War Information has made "several hundred thousand superb jazz recordings on film and in wax". He points out that the entire stock is liable to be junked and destroyed. Here's what you do: — Write a couple of letters to your Congressman and Senator. Ask them for^ their views on the preservation of OWI jazz records and films. Tell your Congressman that this material should be deposited with the Library of Congress, or if you have another suggestion for its preservation let him know about it. Send your letter to us. and we will forward it to your Congressman, along with a copy of the September Record Changer with Mr. Ramsey's article earmarked for his observation. Or write us for an extra copy of the issue and send your letter to him direct. The important thing is — WRITE YOUR CONGRESSMAN. If you don't, it is likely that the OWI films and records will be disposed of in some outrageous fashion as were the paintings of the Federal Art Project. * + * For a year or so now, wc have been urged by several readers to extend the services of t lie Record Changer to collectors of "classical"' records. We have finally decided to have a go at it and sec what happens. We propose to list "want»" and "items for disposition" of collectors of recorded European music, and, if the revenue warrants, to. print periodically articles and notes of interest to collectors on the other side of the tracks. We have signed on John Ball, Jr., of Miami (562 S. W. 44th Ave.), to take complete charge of this section. All contributions of reading material in the classical line will clear through him, and he has already submitted several articles, which I, as a jazz fan, find extremely interesting. In the next two or three issues of the Record Changer we will list free of charge up to 20 classical items wanted or for disposition per collector. Ads are to be submitted showing the information for each record in this manner : COMPOSER RECORDING ARTIST SELECTIONS LABEL & SERIAL NUMBER SEPTEMBER, 1945 Send ads to the Record Changer, Fairfax, Virginia. Closing date: 10th of each month. We would, of course, appreciate your sending us the names and addresses of any classical collectors you know. And if you happen to have several hundred names, we will make you a good deal for them. QUESTIONS (Continued from, page 9) is one of the few forms of jazz piano that may serve equally well as percussive and melodic adjunct to the other instruments in the band. 4. I have already spoken at some length of the Basie type of "single note" piano (The Jazi Record, June, 3 015, p. 7), though with reference to its melodic and rhythmic function rather than to its bass structure. As far as the latter is concerned, I would certainly include it in my extended definition of boogie (Rolling bass blues, walking bass blues, triplet bass blues, Spanish bass blues, etc.). I sincerely agree with the last four paragraphs of Mr. Holmes letter. It is an extremely lucid definition of what I tried to say somewhat more clumsily in the August, J D4 L, column and what I hoped to have elaborated somewhat more successfully in the June Jas3 Record. Ill Ensign Mark C. Wilkerson, U.S.N.R., Navy No. 99, c/o F.P.O., New York, adds some highly informative points to Jim Moynahan's notes on clarinet technique and anticipated accents : "Just a cent's worth on embouchure formation and growl or 'spit' tones: I was taught reed and trumpet by Negro musicians of the South. The)' all used what you people are calling 'single embouchure' — but also a growl produced in the throat, which is a much more successful method than the lip buzzing system mentioned. This growl is accomplished by something akin to humming (which may be the 'uvula trill' you fellows are talking about ) and is equally effective on any wind instrument. It allows full technical control over the tone and all kinds of normal vibrato may be used with it — lipping effects, etc. At one time I studied bassoon from an Italian teacher, and he used double embouchure as the classic system of reed technique. As you know, double embouchure is essential on double reed instruments but De Robertis used it on clarinet as well. So it probably is an old continental system. Like you, I never suspected anticipation (as a general rule) to be ap plicable to jazz (as opposed to swing). The men I believe in — Louis, Joe Smith, Ladnier, Dodds — seemed to build suspense by lag phrasing. I was taught lag by Negroes. It is certainly essential, then, to have a solid on-thebeat rhythm. Of course, it only stands to reason that any transition measures (end of phrase, end of chorus, etc.) may find all instruments temporarily engaged in an off-beat break." IV I am still interested in obtaining additional information on the "missing links" in the history of boogie, i.e., the connection between guitar blues and walking bass, between player piano rolls and party piano phrasing; between railroad worksongs and train blues. Will all musicians and collectors please write in if they have any facts and data on these questions? Eye witness descriptions or ear witness transcriptions of turpentine camp piano styles around the turn of the century or later will be especially welcome. HOT COPY (Continued from page yJ9) Only the second coupling came out in print. Incidentally, the recording date for all four sides was April 21, 1927. The compiler was responsible for an omission in Volume II of the "Index to Jazz." Kansas City Frank (Melrose) did not receive credit for the following two piano solos : Gennett 5585 : Jelly Roll Stomp (14802) Pass the Jun (14803) These titles were recorded in February. 1929, according to a note in my possession, but this does not sound right. This would seem to be too late by about three or four years, unless the issue number is wrong. The same titles were recorded and issued on Brunswick 7062. There are supposed to be two masters of the Stomp. . * * * The Bluebird reissues of the Eddie's Hot Shots Victor 38046 are both second masters. SMITH (Continued from page 33) up — The Singing Commercial. I have already had some rather nasty brushes with fellow critics as to whether nothing does like super-suds. As for me, I like chiclet-candy-coated chewing gum. Looking back nostalgically through the years when jazz flourished, I was startled to come across the following : "Call it jas, jass, jasm or jazz, it still won't let your feet behave." My God, I thought, they even danced to it ! 35