The record changer (Jan-Dec 1951)

15 drums (Continued from Page 8 ) its object the diversity of rhythms, polyphony is concerned with the diversity of voices. The two meet in a somewhat shaded area where tone becomes rhythm, and rhythm tone. The aesthetic problem here is how to effect a smooth and continuous flow and interchange between the one dimension and the other. In general, we may say that such a "flow" is in the nature of things; it is only when it is tampered with that difficulties occur. The tampering process has gone on in jazz now for almost twenty-five years. It apparently received its greatest impetus when it was decided (probably by white men to begin with, and later by the Negro, who was trying to "raise" himself) that jazz was in need of some "cleaning up," that it needed to be broken into its component parts. Thus, melody and rhythm — following the white man's existing approach to music — with harmony (the 19th century European-style harmony of moving chord blocks) to effect a bridge between these two. Now this was a close analysis, as far as analysis goes; but it applied the right principles to the wrong music. Harmony, for example, is not a principle in jazz — as it was not a principle in European music until Rameau in the early 18th century. So the analysis only caused a dissociation of the jazz components, and their subsequent re-assembling into something that was not jazz; what is accomplished was the birth of "swing" and, eventually, "bop." What the analysts missed at the beginning was an apprehension of the twin dimensions of jazz: polymetre and polyphony. Missing these, they could hardly be expected to discover what it was that joined the two. Even with a true knowledge of that in which jazz consists, it is difficult to describe the joining agent. Probably the only way that we can make the attempt is to describe certain of the ways in which its presence is guaranteed. With respect to the drums, this presence is achieved through a full utilization of the tonal possibilities inherent in the drummer's appurtenances. This is probably the reason the jazz drummer does not play a single drum, or even several drums, but cymbals, woodblocks, tomtoms, cowbells as well ; he even plays on the rims of his drums, as we have seen. This all has a purpose: the drummer is attempting to link his rhythms as closely as possible to the purely tonal dimension of the ensemble. Thus, he plays woodblocks — their clacking, staccato sound approximating the quality of hammers percussively applied — behind a piano chorus; cymbals behind a trumpet, the brassy overtones of the two intermingling; tomtoms behind a clarinet, in the hope of achieving rapport with its soft and mellow qualities. There is no rule in this; it all depends on the drummer's taste. And in the other rhythm instruments, the same purpose is. or should be, at work: the banjo picks up and "tonalizes" the staccato effect of drumbeats, and carries it to the piano, which tonalizes it further, especially in the bass, and passes it on to the tuba, from which it ascends through the trombone and cornet to the clarinet. I am speaking here of the "standard" jazz ensemble and, by implication, of the reasons for its particular kind of instrumentation. Other groupings of instruments are possible, of course ; but their efficacy or lack of it may be finally judged by reference to this principle of "rhythmic tonalization." We have not paid enough attention to it. Especially drummers: where the white Chicago drummers, excepting Tough (and George Wcttling, whom I have not yet mentioned), made their mistake was in ignoring the tonal aspect of the drumming of Baby Dodds, and in thinking the "straight" beat (as exemplified in Catlett) was enough — if they could have mastered it, which they did not. So once again we return to Dodds. His importance in this, as in the matter of polymetre, cannot be overstresscd. He is a model well worth the white drummer's study. Tough knew this when he made Mezzrow "promise never to show jazz drumming secrets to another living soul" ; but Mezzrow did finally show them — to Krupa; and they have since issued in some curious forms. records noted (Continued from Page 13 ) ney, baritone sax, Lawrence Brown, trombone, Billy Taylor, bass, Sonny Greer, drums, and the Duke at the piano. The usual adjectives applied for this stuff are : suave, subtle, sophisticated, and virtuoso. Such adjectives are most appropriate for these are among the most polished of small band "jazz." An unknown female vocalist does a wonderful job on Prelude and Meditation with a voice that is instrumentally oriented and with a quality that is unusual in popular music of any kind. All of the horns find occasional solo spots on the various tunes and carry out their tasks with the mellow finesse expected. The scorings are of the kind that professional musicians behold with great envy. Empty Ball Room Blues is the kind of a title that requires an exceptionally artistic composition to be tailored to it and this it does not have. The tune is splendid but it just doesn't have the romantic connotation of the title. Dream Blues on the other hand turns out well in this respect. (Jazz Panorama 1806) (R. L. T.) the record changer SEPTEMBER 1951 Volume 10, No. 12 editor-publisher bill grauer, jr. managing editor orrin keepnews circulation jane grauer art director paul bacon COLLECTORS— SEND FOR FREE COPY OF DISC-USSICN, AMERICA'S OLDEST AUCTION LIST OF CUT-OUT AMD RARE D ISCS. MUSIC SHOP 44 GAINSB0R0 ST'., BOSTON ,MASS. GIGANTIC PUBLIC IN-PERSON SALE ON MY PRESMISES.5CM PER RECORD FIRST COME F I RST SERVED. SAT. & SUNDAY DECEMBER | 5 & | 6 1 0 AM to 10 PM 5000 JAZZ AND SWEET RECORDS ALL OUT OF PRINT AND HARD TO GET COLLECTORS ITEMS. JACOB S. SCHNEIDER 128 WEST 66 ST., N.Y.C., N.Y. FOR SALE THE FINEST PHONOGRAPH EVER MADE C0MMERC I ALLY. THE LONDON PICCAD ILLY FREQUENCY RESPONSE 50-15,000 CYCLES ALMOST NEW CONDITl ON COST $ 120.00 FOR SALE $ 55.00 FOB NYC BILL GRAUER, JR. 125 LA SALLE ST., N.Y.C.,N.Y. HELP WANTED WE NEED A YOUNG MAN OR WOMAN TO WORK IN OUR OFF ICE. MUST BE A FAIRLY GOOD TYPIST AND SHOULD KNOW A GOOD DEAL A30UT RECORDS AND RECORD COLLECTING. WORK IS PART-TiME ABOUT |5 TO 20 HOURS EACH WEEK. NO NIGHT WORK. HOURS TC SUIT YOU FROM 10 Ay TO 6 PM. PLEASE PHONE FOR AFPO INTMENT. THE RECORD CHANGER RIVERSIDE 9-|250 |25 LA SALLE ST., N.Y.C.,N.Y. WARNING TO ALL RECORD COLLECTORS STEVE i/iAISTC, OF 27|6 DECATUR AVE., "R0NX 58, N.Y. WHO ALSO USES THE NAME OF FRANK SUPPA OF 60| E |78 ST., N.Y.C., HAS HAD NUMEROUS COMPLAINTS LODGED AGAINST HIM BY COLLECTORS WHICI HE FA I IS TO HONOR OR EXPLAIN.