The record changer (Jan-Dec 1951)

11 Contra wn¥oLitH0Bm John Lee Hooker (a Clemens Kalischer photo) evolution from the "zooning" preacher, through the preacher's assistant, to the gospel singer. Describing the origin of the gospel song in the late 'twenties, propelled by the numerous compositions of Professor Dorsey of Chicago, Professor James noted the quick eclipse of folk styles of singing because of the popularity of the phonograph and the success of such quartets as the Mills Brothers, who were copied universally and indiscriminately. An important element in gospel singing, he felt, comes from the blues — a secular music — and it set the style which has become a big business today. The sixth and last panel began with a reading of the numerous definitions of jazz that had been composed during the entire period. One was selected and transferred to the blackboard. At this point, the discussion ranged over a bewildering number of subjects — new and old — punctuated by sudden agreement on some one word. The phrase "American music" was adopted without debate, but the word "improvisational" came in for heated argument. Should the music of Guy Lombardo fit the definition? That one word excludes him, although, in so far as his arrangements are derived from the improvisations of long, long ago, he fits the definition on a level of his own. The word was adopted. Should the word "dance" be included in the definition? The argument that Bessie Smith's Back Water Blues is not exactly dance music, while Sammy Kayc, for example, plays nothing but dance music, finally led to the omission of the word, although it was agreed that the connection between jazz and the dance is both close and basic. In fact, it was proposed that the moment jazz becomes concert music (i.e.; no dancing permitted), it loses much of its vitality. The omission of the word was based upon a close vote. Following this, the fact that jazz use European instruments — including drums — was brought up and its importance in the evolution of jazz stressed. As time was running out, the panel was reminded of its purpose: to formulate a simple, descriptive definition of jazz which would serve as a basis for further research. Accordingly, it was decided to reserve the list of African qualities in jazz mentioned at the third panel and to stick to a definition that describes the sources generally. Since jazz does not borrow the whole of either the European or the African tradition, but rather represents a highly selective blend that is uniquely American, it was decided to indicate the nature of this blending in terms of the three customary subdivisions of music : melody, harmony, and rhythm. In brief, that is approximately how the definition evolved during the Roundtable. ( If any remarks of the experts are omitted or misquoted, the fault is wholly mine. Mr. Mehegan, who was active in the panel discussion, gave a lecture on the evolution of piano style after the definition had been reached. Therefore I have omitted it.) A comparison to Webster's definition is revealing: "Jazz is a type of American music, characterized by melodious themes, subtly syncopated dance rhythms, and varied orchestral coloring." It is submitted that this definition, which is typical, falls wide of the mark on several counts. The members of the Roundtable, however, feel that they have merely made a beginning and would welcome a continua{Continued on Page 12) Willis James and Marshall Stearns (Kalischer photo)