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Jazz Music Vol.1 No.8 1943 0003

Jazz Music Vol.1 No.8 1943 0003

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Finally, there is to consider the effect Albert Nicholas from the New York sub­Of the loss to the-orchestra of Cootie way, or gets Barney back, deterioration tmd Bamey. Cootie was, and is not the is likely to continue. A fla shy player only master of the growl trumpet. His like Ben Webster hardly helps the orches­work was never so imaginatively rich tra. Sometimes he plays well, but more and sensitive as that of Bubber Miley, often his music is sickly and sentimental. tmd we know, too, of Sy Oliver and But perhaps the going of Cootie and Sidney DeParis. But he was fine, and Barney is symptomatic. Perhaps Tricky Nance can't fill his shoes. Rex OQuld, Sam, Rex, Carney and Hodges wiu be but there is a limit to the burden even ' next. Perhaps Ellington no longer wants his broad shoulders can carry. So with such players in his orchestra. Perhaps the wonderful Barney. Harry Carney !le will concentrate on retaining the is no mean clarinettist, but he also crown so lately worn by Benny Goodman,
happens to be the greatest baritone: in that magnificent monarch of fish-cold the racket. It would be impossible for swing. Perhaps he will continue to try him to carry out all his own solo duties to marry heaven and hell in his 'music, and Bamey's as well. Therefore, unless and fly right off the jazz track. re he Duke can get someone like Sidney does, we will remember him for master­DeParis to take Cootie's place, or get pieces like " The Mooche," " ~ockin' in
Cootie back, and unless he rescues Rhythm," and "Rose Room."

In Mobile, in Mobile,
Blue-black excavator of inferno where you
Were born under a black sun and so many stars,
That now you should break out with your growl, dare to
Sing the blues to a cold world! and play, play
The trumpet in its vivid trickery. '

Men of Satan, m~n of sin,
Black hoods of the KIu Klux and the worshipping whips,
The fiagellant masters over the black people, scheming
To fetch more labour from the negro's shaking hips, .
Rape the women,' lynch the boys, America's
Darkness of hoart under its flaunted stars,
This for you the Mobile Blues.

And from the folk-song and legend you create,
Blowing with your warm Ups on a trnmpet.
The mute speaking in your agile hand, .
From this and that of melancholy sorrow
Comes the music that will make black not white,
But the black ' man as good or better,
From the child in Mobile.

Here is a vivid world, here is the bursting fig, .
Here is the man overcome by his troubles, overcoming

His sorrows and singing in a mad war
To fight down those who triumph, triumph over
The peoples everywhere. We in our country cover
Like worlds of rebellion, fight like oppression .
To that you play of, Cootie.

We play the way it comes to us, we play
Elegies for the past, blues for the present,
Laughing songs of sex and low laments, we who,
A trumpeter as you, a poet as J, ' .
Sing, for the people with what mastery
We can, and mourn to-day, and hope ~o-mor~ow.


"MY IDEA OF REAL negro the same vivid summary of negro music is getting the different' negro folk idioms, now scintillating with 'idioms in cluster forms, and the maturity. distribution of these idioms in I do not deny that Duke's music arrangement, aQd still retai n their has changed, but perhaps I who negroid quality." have followed it so closely have
." Retain their negroid quality." changed too, or learned to hear the How very important is that state· same message in many guises. ment of Ellington's. Too many Whatever the reason, HOP HEAD have ,in the past, tried to shackle or WHAT GOOD WOULD IT the ebullient Spirit of jazz, and DO sound equally thrilling. In
succeeded only in its destruction. Duke's development we have seen Ellington, however, can weave a miniaiure of the whole of together improvisations, and his musical development-the progres­unique tonal and harmonic con­sion from rhythmical to harmonical ceptions, into a musical homo­interest. Tone and harmony are geneity; he improvises not on one two different names for the same
instrument, but on a team of stimulus, it must be realised, the individuals. stimulus being the complexity of sound wave presented to the ear.
This teamwork, this stability of "To my mind ELlington is thepersonnel, is one of the keys to greatest of all colourists, surpass­Ellington's success. Neither, un­ing at times even the Impressionists.
like most jazz musicians, has suc­Anti as such, his place in music iscess ruined his jazz-there are. but an important one . .
few of his records not in the best
His results in the field of modern
of jazz traditions. (Forgetting at
music, bent on overthrowing the tyranny least SOPHISTICATED LADY!) of classical tonality, witb equal tempera­For the past fifteen years or so, ment and consequent scale limitations,
from EAST ST. LOUIS TOODLE-are effective Abba's
more than micro· tonal meanderings, Scbonberg's cold
" intellectual " chordal permutations, or
have found every moment exciting,' Hindemitb's "Utility music," with a and even in these dark" big band" dissonant contrapuntal streak which is days. Duke's music remains still jazz kindergarten.