The record changer (Jan-Dec 1949)

22 jazz (Continued from Page 8 ) that jazz, in common with all forms of creative art, has travelled a natural path from folk-art simplicity towards urban sophistication. Thus jazz now possesses the body of New Orleans music, both the style and the repertoire of beautiful tunes. This remains as a source of continuing listening pleasure, and also as a living, integral part of all of the jazz music that has developed out of the New Orleans foundation and is constantly changing as its environmental conditions change. It is, incidentally, this theory of the alteration of all art from early folk forms into complex later expressions, which forms the basis of Sidney Finklestein's more general work, Art and Society. But he first developed the idea from his study of jazz — a rather striking example of the uses of an approach that regards all forms of artistic expression as potentially equal. But in emphasizing that Jazz: A People's Music is significant because it insists that jazz is "equal" to any other musical form, it is important to avoid the impression that Finklestein is saying anything to the effect that "jazz is just like long-hair, only it sounds different." Jazz evolved in its own individual way, under specific conditions peculiar 'only to jazz. Finklestein's term is that it is a music of "protest," a word open to some misinterpretation. At least one reviewer (Bucklin Moon, in the December ("hanger) lias complained of the over-application of this thesis, and it is true that the word carries implication of sullen, angry revolt and smashing of chains — which is hardly what most of jazz sounds like. The word may be unfortunate, but the author's two uses of "protest" are actually quite sound. Jazz is a music created primarily by Negroes, who lived — and still live — under conditions that deny them most other opportunities for expression. Certainly even happy music can be considered as a protest against a world whose regulations are designed to keep a Negro from being happy. And Jazz, says Finklestein, is also a musicians' protest against the stagnating standardization of techniques of playing and composing in con WE HA VE NOT MOVED ! 1 1 Still in Full Operation!!! 9*$% ^&o*d (Renter 107 W. 47 St., N. Y. C. UUST OFF 6TH AVE.) PL 7-3983 10-10 As always we have all the current jazz labels featuring the best in New Orleans, Chicago, Dixieland, Blues and Bop. We also have a large stock of the best foreign labels including PA E, BR E, HMV, Blue Star, Odeon, CO E, etc. Come in and Browse Around. Send us your wont list. "Everything from Bunk to Monk" cert music. Used in this sense, emphasis on the "protest" in jazz is simply a logical extension of the thesis, universally accepted since the time of Jazzmen, that the music is greatly influenced by the specific conditions under which jazz musicians live. This article has not been meant as another review of Jazz: A People's Music, although it seems, at least in part, to have turned into a book review. It is intended as an expression of the editors' great delight on the publication of a new and different jazz book, an important work which we earnestly recommend to the attention of all lovers of music. arnold b. stilwell's RECORD DATING CHART covering the period through 1930. the answer to every record collector's dream. The chart, 17" x 22", will teft you at a glance the approximate recording and issuance date of any record appearing on more than 100 labels issued before 1930. an example of how the chart works Let us suppose you pick up a copy of Richard Hitter's Blue Knights on the Gennett Label. Record Number 3149, Master Number 9725, playing "Stomp Off Let's Go." 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(Continued from Page n) Johnny Dodds South Bound Rag Young's Creole Jazz Band Tin Roof Blues Johnny Dodds' clarinet noodles throughout the first side of this unusual pairing, supported by Blind Blake on guitar and Jimmy Bertrand on xylophone. There isn't much else you can say about it, since it's far from being one of Dodds' more important records, but it does have a curious quality that I have never heard before, thanks to Bertrand's xylophone playing. He is gloriously ordinary on the instrument, but it produces a different sound that makes for a change of pace if nothing else. The Young's Creole Band side is patterned after the New Orleans Rhythm Kings record. (Even the label credit is N. O. R. K., and that doesn't mean the Columbia backfield of Nork, Olson, Rossides and Kusserow.) Preston Jackson and Bernie Young are heard in trombone and trumpet solos, while Happy Caldwell confines his clarinet playing to the ensembles. Young, whom I've never heard except on these sides with Jackson, has a pretty solid style and Cassino Simpson supports him nicely at the piano during this chorus. (Century 3027). Dobby Bragg 3, 6 and 9 We Can Smell That Thing This should settle for all time that the name is really Dobby, not Bobby. The guy plays a fair honk piano, but rushes like hell and never does explain the significance of the title 3, 6, and 9. The talking resembles Pine Top Smith more than somewhat: too bad the piano doesn't. Bragg does better on the reverse, although his lack of technique is practically staggering. W*e Can Smell That Thing is a rather distasteful side on all counts, and you'd be much better off with something like Jimmie Noone's record of It's Tight Like That, which is much better music on the same theme. (Century 3028). Jimmy Blythe's Ragamuffins Adam's Apple Messin' Around There are all too few records of Freddie Keppard's hard cornet playing. This is one of the better ones, although listening to Keppard's horn on any record at all is rather hard work, thanks to the extraordinarily poor studios he was used in. Another thing : stories are one thing and records are another. Keppard may or may not have been a great cornet player, but you can't prove it with his records. He gets lost, fluffs, plays way out of tune on Adam's Apple. (I have often wondered if it's really Keppard on this side.) He's much better on Messin' Around, which is a superior side in all respects except that Trixie Smith intrudes with a typical Paramount vocal. Just stick to this side, and dig Dodds and Keppart, and you'll be getting a pretty fair earful. There's no question that Dodds was a far greater musician, and as I've implied before, I think Keppard may be over-rated, but this side has some of his best moments on wax, not barring the Jazz Cardinals sides. (Century 3029).