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Jazz Music Vol.1 No.6 1943 0005

Jazz Music Vol.1 No.6 1943 0005

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You shall reap just what you sow Sa/fly locked up in my heart (63238) Brunswick 02633 (64606) Brunswick 02732
Knock Kn."d Sal (64607)Oriental Swing (63239)
Brunswick 02824Brunswick 02633 Lil Armstrong (piano & vocals);Lil Armstrong (piano & vocals); Mlinzie Johnson (drums); WellmanO'Neil Spencer (drums); Wellman Braud (bass); Don St0vall (alto); Rus­Braud (bass); Buster Bailey (clarinet); sell Johns (tenor); Jonah Jones (trum­Renald Jones (trumpet); J. C, Higgin­
pet); Hilda Rogers · (vocals). (Newbotham (trombone). (New York­York-March, 1940). August, 1938). My Secret Flame Am. Decca 7739 Harlem on 'saturday Night (64604) Sixth Street Brunswick 02732 Riffin' the Blues Am. Decca 7803 Everything's Wrong (64605) Why is a good man so hard to find
Brunswick" 02 824 Am. J?ecca 7803
are superior to white ones. He realises• that Teagarden, Bix, Teschmaker, "THE REAL JAZZ", by Hugues
Panassie. (Smith & Durrell-New
Freeman & Co. were lamentably over­
York City, $2 .50).
boosted, and that the then obscure
New Orleans · musicians were far A YEAR OR two after I first became superior. The evolution of his critical interested in jazz I read Hugues Pan­faculties run parallel with those of assie's "Hot Jazz". This book was severalather jazz lovers. in many ways unique, being the first The finest cha pters in the book are attempt to survey the.whole. field. and ,possibly the first two dealing with historical background In an Intelligent "True and False Jazz" and "Jazz and fashion. The reaction was one of Classical Music". His clarification of genuine praise among ~e more e~­the position of the dance and music, lightened American cnUcs, and In · and his reasoned analysis on why a
England, crass stupidi~y and ignor~nce superior culture does not necessarily coupled with petty spite resulted In . a imply any musical superiority are scurrilous review by Dan Ingman In masterpieces of writing. the "Melody Maker". The so-calle.d His opinions on the value of the English critics, lacking in that erudi­hundreds of musidans he deals with
tion and sensibility which are so are naturally the most controversial. I marked in Panassit!, have always taken for one, beg to disagree on a number a delight in revealing their intellectual of points, but in almost every case his
bankruptcy by sly digs at the man wl)o reasons . are very well worth studyinS. has done more for jazz than any other The two chapters with which I dis­European critic, and in fact, most agree most are those pianists and
American ones as well.

vocalists, for he pays scant attention to blues pianist, and singi:rs, but in
"The Real Jazz" is proof of Pan­fairness it mUlt be said that his omis­assWs greatness. He revises many of $ion is partly du~ to lack ot oppor­his earlier opinions, for as he says, tunity to study their work. His in­"Only little minds are afraid to con­sistence on the greatness of such aa~lytradict themselves." This new work neglected mu,ician~ as Tommy Lad"is a tremendous advance on his first Dier, loe Smith and George MitcheU, book. To begin with, he now sees
• ~~('It ,. 10)
that in every case coloured musiciana

THE INSTANCE of Teagarden Tea~a~den took New York by is instructive: he typifies for many storm. · By 1928 .he ha~ made what is best in jazz, has indeed Makin' Friends and was known to been widely hero-worshipped; and the few as the sensation find of the when we come to examine his year. By 1929 he was the ac­assets and his limitations as a cepted ace trombonist, had replac­creator of music we are assessing ed Mole with Nichols, played with the worth of a whole school of jazz the Chicagoans and the Pollack · musicians of which he is the most groups, and reached the heights of prominent figure. fame with Armstrong and Knockin'
a Jug.
Teagarden was not of the origin­ators of jazz. Of his early develop­Knockin' a lug is a rightly famous ment we know nothing, except that record, and Teagarden's tense solo a
fitting Yet perhaps
he does not seem in the least in­opening. it was
this perfectly phrased solo that first
debted to New Orleans for his
began to raise doubts in the hearts ofstyle, which derives from the Arm­Teagarden's admirers, when they found strong of the Chicago days. When that he played a note-far-note repeat Wingy Mannone discovered him in later in the year on. the Louisiana
Rhythm Kings' Basin Street Blues,
Arizona in. 1927 and brought him
and had therefore presumably played it
to 'New. York his style was fully many other times also. He had in mature; it has since shown no pro­fact laid himself open to the charge of gression. 'He played as he sang, lack of originality and repetitiveness, the most serious that can be levelled
with a slow Southern drawl, very
at an improviser. And when once the
perfect jazz tone, and complete re­eyes of the worshipper have been laxation and ease of phrasing. He opened, there is unfortunately little
had a controlled laziness of man­
doubt of the verdict; other instances spring to mind, such as that favourite
ner, an amused and indolent charm
ascending sCale phrase with turns ofwhich blinds criticism, and which Rose of Washington Square, an amus­. represents indeed "the only known ing II)annerism after three . hearings which becomes a maddening cliche
occurrence of Glamour in any jazz
after twenty; and then the· moment of
musician. His improvisations were
high disappointment in the transatlan­
simple melodic variaQoJ;ls on the tic brpadcast when Alastair Cooke an­
theme, rather than separate inven~ ,nounced "Here's Jack Teagarden
coming to the microphpne to sing a
tions on the harmQIlic basis, and
chorus he's just though up," alld our
made an immediate. appeal to a
Jack went into nothing more nor, less
New York rather baffled by the than I'm going up tke river baby, but
tortuous subtleties of Miff Mole's I can't take you.

Worse, the charge deepens into ·that
extremcly individual playing,
of plagiarism as our examination be­
which at that time held a near
comes closer. The famous solo from
mODopoly of the trombone jobs. M,akin: Frim~, repeaFed a year later