|
Additions, comments, corrections,
contributions to Bill Fuller %Earlyjas, or
e-mail: jazzytubs@aol.com
contributions to Bill Fuller %Earlyjas, or
e-mail: jazzytubs@aol.com
Nov. ’05, “In Tune” The Jazz Problem (part I)
In the year 1924 a heated debate was carried on within the scholarly pages of an esteemed music journal called
“The Etude.” Opinions pro and con about the “Jazz Problem” were solicited far and wide from noted music
critics, composers, conductors, musicians, and educators about the ongoing and future ramifications of this new
music and its effects upon American culture and mores.
Over the next three issues of the Earlyjas Rag we’re going to take a look at that debate through pro and con
quotes from articles in that magazine as well as some of the “jazz” tunes they might have been listening to at
that time:
PRO CON
by by
Isham Jones Henry T. Finck
(noted conductor of American dance music) (the famous music critic and author)
…What is jazz? Considering that all popular …We must, however, be on our guard not to
music is more or less termed jazz, I would briefly assign a Negro origin to everything we hear
describe it as modern emotional music. It is that is boisterous and barbaric. The other day
expressive of the happy dance; it is rhythm that I read in a newspaper that the Parisians still
is simple yet inspiring. It is music that is irresis- like the Negro style of jazz, in which the players
tible to the feet and, at the same time, appealing not only indulge in musical horseplay, but also
to the heart and head. It has been said that all in gestures and antics of the same style. But it
music, classical or popular, must appeal to one was in a description of a performance by a white
or more of those parts of the body. I believe, jazz band that I read about a banjo player who
judging from the popularity of certain numbers, tossed his instrument in the air; also a piccolo player
that most of the popular songs of today appeal who, when drunk, indulged in ‘wild, barbaric,
to all three… lawless sounds;’ and also, concerning another
…The successful popular composer of today, player, ‘when he put his tomato can on the end
who is being given credit for the so-called jazz of his cornet it seemed as though the music
music, is sincere. He is always striving for that with it strange quivering pulsations, came from
wide appeal and I am confident that in the future another world (one guess as to which world).’…
he will be given more credit for his endeavors…
Here are some of the period pieces they may have been listening to:
-DEAR OLD SOUTHLAND, (1921), written by Harry Creamer and Turner Layton who also wrote “Way Down
Yonder in New Orleans.” This melody was adapted from the spiritual, “Deep River.” It was introduced by
Sidney Bechet and revived in 1939 by the Benny Goodman Orchestra.
-HARD HEARTED HANNAH (the Vamp of Savannah)– (1924), by Jack Yellen, Bob Bigelow and Charles Bates.
This tune was introduced by Frances Williams and recorded by Belle Baker as well as by
Cliff Edwards (Ukulele Ike). It was used in the 1955 film, “Pete Kelly’s Blues” and sung by Ella Fitzgerald.
-HOW COME YOU DO ME LIKE YOU DO? – (1924), by Gene Austin who also wrote “Lonesome Road” and
“When My Sugar Walks Down the Street.” Austin made this tune popular himself. It was later recorded by
Marian Harris and used in the film “Three for the Show” by Betty Grable and Jack Lemmon.
-I WANT TO BE HAPPY –(1924), by Vincent Yoummans who also wrote “Hallelujah” and “Time on My
Hands”. It was introduced in the musical “No,No, Nanette” by Charles Winniger and Louise Groody. It was
recorded by both the Vincent Lopez and the Jan Garber orchestras. The tune was revived in 1937 by Benny
Goodman and used in the 1950 film “Tea for Two” with Doris Day and Gordon MacRae.
-questions, comments, corrections, suggestions, additions to Bill Fuller %Earlyjas or e-mail: jazzytubs@aol.com
In the year 1924 a heated debate was carried on within the scholarly pages of an esteemed music journal called
“The Etude.” Opinions pro and con about the “Jazz Problem” were solicited far and wide from noted music
critics, composers, conductors, musicians, and educators about the ongoing and future ramifications of this new
music and its effects upon American culture and mores.
Over the next three issues of the Earlyjas Rag we’re going to take a look at that debate through pro and con
quotes from articles in that magazine as well as some of the “jazz” tunes they might have been listening to at
that time:
PRO CON
by by
Isham Jones Henry T. Finck
(noted conductor of American dance music) (the famous music critic and author)
…What is jazz? Considering that all popular …We must, however, be on our guard not to
music is more or less termed jazz, I would briefly assign a Negro origin to everything we hear
describe it as modern emotional music. It is that is boisterous and barbaric. The other day
expressive of the happy dance; it is rhythm that I read in a newspaper that the Parisians still
is simple yet inspiring. It is music that is irresis- like the Negro style of jazz, in which the players
tible to the feet and, at the same time, appealing not only indulge in musical horseplay, but also
to the heart and head. It has been said that all in gestures and antics of the same style. But it
music, classical or popular, must appeal to one was in a description of a performance by a white
or more of those parts of the body. I believe, jazz band that I read about a banjo player who
judging from the popularity of certain numbers, tossed his instrument in the air; also a piccolo player
that most of the popular songs of today appeal who, when drunk, indulged in ‘wild, barbaric,
to all three… lawless sounds;’ and also, concerning another
…The successful popular composer of today, player, ‘when he put his tomato can on the end
who is being given credit for the so-called jazz of his cornet it seemed as though the music
music, is sincere. He is always striving for that with it strange quivering pulsations, came from
wide appeal and I am confident that in the future another world (one guess as to which world).’…
he will be given more credit for his endeavors…
Here are some of the period pieces they may have been listening to:
-DEAR OLD SOUTHLAND, (1921), written by Harry Creamer and Turner Layton who also wrote “Way Down
Yonder in New Orleans.” This melody was adapted from the spiritual, “Deep River.” It was introduced by
Sidney Bechet and revived in 1939 by the Benny Goodman Orchestra.
-HARD HEARTED HANNAH (the Vamp of Savannah)– (1924), by Jack Yellen, Bob Bigelow and Charles Bates.
This tune was introduced by Frances Williams and recorded by Belle Baker as well as by
Cliff Edwards (Ukulele Ike). It was used in the 1955 film, “Pete Kelly’s Blues” and sung by Ella Fitzgerald.
-HOW COME YOU DO ME LIKE YOU DO? – (1924), by Gene Austin who also wrote “Lonesome Road” and
“When My Sugar Walks Down the Street.” Austin made this tune popular himself. It was later recorded by
Marian Harris and used in the film “Three for the Show” by Betty Grable and Jack Lemmon.
-I WANT TO BE HAPPY –(1924), by Vincent Yoummans who also wrote “Hallelujah” and “Time on My
Hands”. It was introduced in the musical “No,No, Nanette” by Charles Winniger and Louise Groody. It was
recorded by both the Vincent Lopez and the Jan Garber orchestras. The tune was revived in 1937 by Benny
Goodman and used in the 1950 film “Tea for Two” with Doris Day and Gordon MacRae.
-questions, comments, corrections, suggestions, additions to Bill Fuller %Earlyjas or e-mail: jazzytubs@aol.com
In Tune June 2005
Here are excerpts from an 80-year-old music magazine that you might want to think about over the summer;
see you in September:
THE ETUDE Vol. XLII No. 9 September, 1924
What Effect is Jazz Likely to Have Upon the Music of the Future?
(from an interview with pianist/composer Percy Grainger)
“What is this bug-a-boo of Jazz? Is it polluting the musical art of today? Or is it something that will vastly
increase the musical interest of the future? ... It was quite natural that Jazz should first bubble up in the melting
pot of America, and equally natural that it should spread all over the world. The fact of the matter is that Jazz
differs not essentially or sociologically from the dance music all over the world, at all periods, in that its office is
to provide excitement, relaxation, and sentimental appeal. In this respect it differs not from the Chinese or
Native American Indian music or from the 'Halling' of Norway, the Tarantella of Italy, Viennese waltzes,
Spanish dances or the Hungarian Czardas. The trouble is that too much fuss is made about Jazz. Much of it is
splendid music. Its melodic characteristics are chiefly Anglo-Saxon...
Its excellence rests on its combination of Nordic melodiousness with Negro tribal rhythmic polyphony plus the
great musical refinement and sophistication that has come through the vast army of highly trained cosmopolitan
musicians who play in Jazz....
If Jazz had done nothing more than to break down certain old orchestral jail walls, it would be justified.... It
has opened up glorious instrumental possibilities....
Another great achievement of Jazz is the introduction of the vibrato in the wind instruments. All wind
instruments should be played with vibrato; at least as much as the strings.
Apart from its influence on orchestration Jazz will not form any basis for classical music of the future, to my
mind. The tendency will be to turn to something simpler. We are now musically located in an epoch which is not
dissimilar from that which confronted the world at the time of Johann Sebastian Bach. That is, a vast horde of
musical influences of great complexity seem to be coming together. Jazz is one of the manifestations of this. But
Jazz is not likely to prove very fructifying to classical music. On the other hand it has borrowed (or shall we say
'purloined'?) liberally from the classical. The public likes Jazz because of the shortness of its forms and its
slender mental demands upon the hearer. No music is ever really popular which is too long or too
complicated.... The laws which govern Jazz and other popular music can never govern music of the greatest
depth or greatest importance. I do not wish to belittle Jazz or other popular music. The world must have
popular music. We should rejoice that ragtime of ten years ago has reformed into today’s Jazz....
Last summer in Germany I noted that Jazz had made a really noticeable impression upon the scores of the
works of many modern composers I heard. The influence was superficial, but it was there nevertheless, and it is
steadily growing....”
And just what up-to-date jazz compositions might Mr. Grainger have been listening to in the year this article
appeared?
BUGLE CALL RAG -- written in 1923 by Jack Pettis and Elmer Schoebel. Elmer also had a hand in "Farewell
Blues," "Nobody's Sweetheart" (see below) and "Stomp Off, Let's Go." The tune was introduced by the Friars
Society Orchestra (New Orleans Rhythm Kings) and later revived at different times by Sophie Tucker, Benny
Goodman, and the Mills Brothers.
CALIFORNIA HERE I COME -- written and popularized by Al Jolson in 1924. It was introduced in the musical
"Bombo." Later it became the theme song of the Abe Lyman Orchestra. It was used in the 1952 film "With a Song
in My Heart" and in the 1946 film "The Jolson Story."
COPENHAGEN -- written in 1924 by Charlie Davis and introduced by the Benson Orchestra of Chicago. Walter
Melrose, who had a hand in "Dippermouth Blues" and "Tin Roof Blues" wrote the lyrics. The "Copenhagen" from
which the title derives is not the city but rather the name of a popular brand of "smokeless" tobacco.
Here are excerpts from an 80-year-old music magazine that you might want to think about over the summer;
see you in September:
THE ETUDE Vol. XLII No. 9 September, 1924
What Effect is Jazz Likely to Have Upon the Music of the Future?
(from an interview with pianist/composer Percy Grainger)
“What is this bug-a-boo of Jazz? Is it polluting the musical art of today? Or is it something that will vastly
increase the musical interest of the future? ... It was quite natural that Jazz should first bubble up in the melting
pot of America, and equally natural that it should spread all over the world. The fact of the matter is that Jazz
differs not essentially or sociologically from the dance music all over the world, at all periods, in that its office is
to provide excitement, relaxation, and sentimental appeal. In this respect it differs not from the Chinese or
Native American Indian music or from the 'Halling' of Norway, the Tarantella of Italy, Viennese waltzes,
Spanish dances or the Hungarian Czardas. The trouble is that too much fuss is made about Jazz. Much of it is
splendid music. Its melodic characteristics are chiefly Anglo-Saxon...
Its excellence rests on its combination of Nordic melodiousness with Negro tribal rhythmic polyphony plus the
great musical refinement and sophistication that has come through the vast army of highly trained cosmopolitan
musicians who play in Jazz....
If Jazz had done nothing more than to break down certain old orchestral jail walls, it would be justified.... It
has opened up glorious instrumental possibilities....
Another great achievement of Jazz is the introduction of the vibrato in the wind instruments. All wind
instruments should be played with vibrato; at least as much as the strings.
Apart from its influence on orchestration Jazz will not form any basis for classical music of the future, to my
mind. The tendency will be to turn to something simpler. We are now musically located in an epoch which is not
dissimilar from that which confronted the world at the time of Johann Sebastian Bach. That is, a vast horde of
musical influences of great complexity seem to be coming together. Jazz is one of the manifestations of this. But
Jazz is not likely to prove very fructifying to classical music. On the other hand it has borrowed (or shall we say
'purloined'?) liberally from the classical. The public likes Jazz because of the shortness of its forms and its
slender mental demands upon the hearer. No music is ever really popular which is too long or too
complicated.... The laws which govern Jazz and other popular music can never govern music of the greatest
depth or greatest importance. I do not wish to belittle Jazz or other popular music. The world must have
popular music. We should rejoice that ragtime of ten years ago has reformed into today’s Jazz....
Last summer in Germany I noted that Jazz had made a really noticeable impression upon the scores of the
works of many modern composers I heard. The influence was superficial, but it was there nevertheless, and it is
steadily growing....”
And just what up-to-date jazz compositions might Mr. Grainger have been listening to in the year this article
appeared?
BUGLE CALL RAG -- written in 1923 by Jack Pettis and Elmer Schoebel. Elmer also had a hand in "Farewell
Blues," "Nobody's Sweetheart" (see below) and "Stomp Off, Let's Go." The tune was introduced by the Friars
Society Orchestra (New Orleans Rhythm Kings) and later revived at different times by Sophie Tucker, Benny
Goodman, and the Mills Brothers.
CALIFORNIA HERE I COME -- written and popularized by Al Jolson in 1924. It was introduced in the musical
"Bombo." Later it became the theme song of the Abe Lyman Orchestra. It was used in the 1952 film "With a Song
in My Heart" and in the 1946 film "The Jolson Story."
COPENHAGEN -- written in 1924 by Charlie Davis and introduced by the Benson Orchestra of Chicago. Walter
Melrose, who had a hand in "Dippermouth Blues" and "Tin Roof Blues" wrote the lyrics. The "Copenhagen" from
which the title derives is not the city but rather the name of a popular brand of "smokeless" tobacco.
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