The record changer (Jan-Dec 1952)

5 The announcement on the page opposite is a direct result of the inter-office memo from reviewer Thompson' which appeared in last month's Changer. In that memo we were severely taken to task for not having done a little more digging in our search for good articles to publish in the magazine each month. Brother Thompson has hit the nail on the head (to coin a phrase) when he suggests that there is a tremendous amount of untapped material waiting to be uncovered. We especially believe that we have really only begun to scratch the surface of potential knowledge in the field of sound scientific explanation of the roots and impact of jazz. Since the inception of jazz criticism, the bulk of writing has been done by jazz fans who were, at best, amateur critics and/or scientists. With all respect due them for their magnificent pioneering efforts, it must still be admitted that the early and presentday critics — Charles Edward Smith, Rudi Blesh, Bill Russell, Fred Ramsey, George Avakian, John Hammond, George Hoefer, Bucklin Moon et al. — are most certainly not "scientists." They were, rather, jazz fanhistorians, who have done an outstanding job of documenting the recorded and personal history of a goodly part of jazz. It is becoming increasingly obvious that this work, valuable as it has been, is not enough. Two writers who might seem to fall into the scientist group which we are seeking are Ernest Borneman and Marshall Stearns. However, both will attest to the fact that their own works have been more in the nature of semi-pro league material, when compared with the potentials available if important minds in the fields of anthropology, sociology, musicology, folklore, psychiatry and the allied sciences were to be turned loose on the jazz theme. We had a hint of this rich potential at last summer's Jazz Roundtable at Music Inn, when Marshall Stearns arranged to have discussions conducted among leading scientists in such fields. We have always thought that we knew a little about jazz. But after listening to men who have spent their lives trying to understand what makes any art tick, or what the basic elements are in all folk music, or just what social factors have gone into making the American and African Negro what he is, we suddenly came CONTENTS NEW ORLEANS CONCERT 6 NEW ORLEANS NEWSLETTER 7 NORMAN MASON 8 BRUNSWICK CATALOGUE 9 THE GEORGIANS 12 RECORDS NOTED 13 CHANGER INDEX 15 BEHIND THE COBWEBS 18 New directions in jazz writing to the conclusion that the time has come for the fan and the amateur to step out of criticism, and place it largely in the hands of those who are best equipped to advance our understanding of jazz. This would not of course mean the end of the fan-writer. Far from it. We actually know only a little of the history of jazz music. Interviews with jazzmen, that go down deep into their personal histories are going to be essential as case histories for the scholars to draw upon. There are literally hundreds of jazzmen of yesterday and today scattered over the country. These men should be talked to, their comments noted down, their backgrounds, the bands they were with, where they played, and who they knew. There we have the two fields of future exploration: scientific and historical. We believe that the Record Changer is the logical outlet for such articles and research findings. However, to embark systematically upon any comprehensive program such as this would require a staggering amount of money. This kind of money may be forthcoming some day, and an institute somewhat on the order of that envisaged by Marshall Stearns may be set up and endowed. But at the moment that is no more than a pleasant pipe-dream. Until that happy day arrives, individual action must be taken. Musicians of the older school are dying and their words should be taken down now. Important scholars now have a great deal of information to impart to anyone who will take the trouble to ask them about it. Obviously, the Record Changer hasn't the funds needed to do this job in any orthodox manner. But we believe that we can count on the enthusiasm of our readers. Therefore, we are announcing in this issue a jazz writing competition. We want you, (Continued on Page 20 ) The Record Changer is published monthly by Changer Publications, Inc., 125 La Salle St., New York 27, N. Y. and is copyrighted 1952 by Lnanger Publications, Inc. For subscription and collectors' advertising rates see the information blanks in another section of the magazine, tor commercial advertising rate card write our New York Office.