The record changer (Jan-Dec 1949)

15 improvisation: (Continued from Page 5 ) in utilizing this conception, ragtime composers were able to adapt and modify it to suit their own needs and purposes. Unfortunately, these details escaped detection by the younger generation as a whole. The\ failed to perceive that only finished musicians can play successfully without reference to the original music, and this only after they have thoroughly mastered the compositions they seek to play. Yet to this day, many post-Oliver musicians fondly pride themselves upon the fact that they do not own a stitch of sheet music. To hear them tell it, they play entirely by ear, as if that were some special kind of feat. But these latter-day aural "geniuses" are among the very ones whose fundamental unfamiliarity with the jazz classics becomes more painfully apparent every time they cut another side for one of the better-known independent labels. If these opinions seem harsh and uncharitable, I suggest that my readers consider that the present generation (and the term embraces our bumper be-bop crop) has yet to demonstrate that it is capable of equaling in quality, much less excelling, what a previous generation could create. I do not know, for example, of any pianist appearing in public today, judging by the acid test of recorded work, who is prepared to play Scott Joplin's Maple Leaf Rag as the composer intended. This piece was first published in 1899. Mark the date well, for it supports my contention that there were giants in those days, who could compose and notate more music than most present-day musicians can read, much less execute, much less improvise. I wish to make clear that, by speaking in this fashion, I am not proposing that imitation of the past become any kind of new goal, or fetish. On the contrary, I am talking here of that most difficult accomplishment : authentic re-creation as a simple act of musicianship. In defense of present-day pianists, for they are neither better nor worse than other instrumentalists, it ought to be pointed out, I suppose, that Joplin's publisher was reputed to have offered a standing reward to anyone who could commit Maple Leaf to memory and play it correctly, note for note. Whether he had any takers is not important here. The story's significance for us is that it tends to confirm that improvisation was not as marked a feature of earlier jazz as later solo work wouid have it appear. In those days, a musician was required to know his music before he was allowed to improvise for himself ; if he did not, the other members of the band sent him home in disgrace before the evening was two sets old. Furthermore, in those days, the composer incorporated many of the best improvisational features in his published work, which may account for the fact that few of today's performers seem to care to tackle the' music in its earlier notated form. In utilizing Maple Leaf Rag to point up the deficiencies in contemporary jazz, the thought I wish to bring to the surface is that jazz lovers might profitably devote a small portion of the time they now consume in locating recorded relics of yesterday to a more profound consideration of the music itself. I am proposing that they cultivate a more mature interest in the subject they profess to admire so passionately. The experience of music lovers in other fields is that this pursuit is a both enjoyable and rewarding hobby. Were anything like this to occur, it is quite conceivable that spurious musical production would cease to be greeted with the doting response it now receives whenever and wherever it is presented. The present generation might no longer be permitted to change* and re-write arduous passages to conform with their own technical limitations, skipping here, and skating there, on the flimsy pretext that "that is the way the 'boys' have always played it." After all, in subtracting what is difficult instead of adding, they are fooling no one who really knows the music ; they are merely gambling on the public's ignorance. good and rare (Continued from Page 8 ) (Delta 4) As Long As I Live/Take Me For A Buggy Ride (Delta 5) H. Lvttelton Band Melancholy Blues/The Thin Red Line (L. J. 1) Spring Swedish issues range from traditional standards to bop : Olle Jacobsson's Dixieland Band Dixie Opus/Dixie Blues (Cupol 4075) Hep Cat's Dixieland Band Eh, La-bas/ Muskrat Ramble (Cupol 4180) Erik Frank Quintet Limehouse Blues/ Diggin' for Die (Delta 44082) Stardust/ Lady Be Good (Delta 44083) Gosta Torner Ba, Ba Vita Lamm/ Jam Session (Cupol 4017) Ostrich Walk/Loopin the Loop (Cupol 4078) Putte Wickman Sextet Liza/Blue Skies (Cupol 4168) R. Svensson Trio What Is This Thing/ Can't Get Started (Cupol 4089) Thore Jederby Orch. Slow Boat to China/ Buttons and Bows (Od. 5397) Everybody Darlin' /Dickey Bird (Od. 5399) Simon Brehm Sextet Begin the Beguine/ Mood For Love (Mu. 8856) Slaw Boat to China/Speak Low (Mu. 8857) Tularbo Jars Trio Yearning/Bubbles (Son. 7406) Thor Ehrling Dance Boogie /Cadillac Slim (Cupol 4151) Emil Iwrings Sextet Cawring /Be-Bop Riff (Cupol 4088) We would like to take this opportunity to thank our many friends for their contributions and help in making this column. Special thanks to : Nestor Oderigo, Argentina; Bill Holyoak, Australia; Al de Block, Belgium ; Hal Mills, Canada ; Rene Eyheralde, Chile; Lads Malinsky, Czechoslovakia; Alf Larsen, Denmark; Dave Carey, England ; Harry Orwomaa, Finland ; Herb Bielefeeld, Germany; Dolf Rerink, Holland; Tage Ammendrup, Iceland; Jehangir Dalai, India ; Emilio Fumagalli, Italy ; Hank Tsujio, Japan ; Sal Nepus, Mexico ; Odd Goller, Norway ; Mai Hunter, South Africa ; Al Ulrich, Spain ; Eddie Hakansson, Sweden ; Felix Steinmann, Switzerland ; Juan Grezzi, Uruguay. We would welcome suggestions from our readers as to how we might make this column more to their liking. If you've got any brick-bats, send them along; we can take it. Also, we would appreciate word from our foreign readers on records we may have missed. This column belongs to the readers and we want to write what you want to read. What we'd like to know is : Would you like a critical review of records? (Bear in mind this means a six or eight month delay until we receive them.) Have we too many listings or not enough? And, mainly, are our foreign listings helping you to improve your collection and expand your perspective ? Write to Joe and Cecile Madison, 2825 34th Ave., San Francisco, California, or c/o Record Changer. DIAL RECORDS presents THE FIRST LONG PLAYING JAZZ RECORD 12 inch microgroove Unbreakable Vinylite for use on 33-1/3 L P attachments DIAL LP No. I THE BIRD BLOWS THE BLUES featuring CHARLIE PARKER A SIDE: Camarillo, Carvin' Bird, Dark Shadows, Bongobop, Blowtop Blues, Cool Blues (6 standard sides as previously issued on 78 r.p.m. shellac records at $1.00 each). B SIDE: Eight (8) alternate 2nd and 3rd masters of above performances, never previously released, containing some of Parker's most amazing solos. LIMITED EDITION for Collectors and Musicians 14 SIDES 40 MINUTES IN ALL Piece $5.00 inc. Tax and Shipping ★ Available Only From DIAL RECORDS (Dept. A) 520 W. 50 St., N. Y. 19, N. Y. Send Draft or M. O. $1.00 Dep. on C. O. D.'s