Classic Jazz: A Personal View of the Music and the Musicians

Preface

For years, when asked, “When are you going to write a book?” my reply has always been, “Never!” Aware that a book project would require months or perhaps years of preparation, I feared the task would disrupt my ongoing daily activities . They include conducting jazz history interviews; writing album notes; reviewing concerts, festivals, records, and books; corresponding with fans and musicians around the world; and conducting extensive research into the darkened recesses of jazz’s origin. Over the years, my hundreds of essays delineated a personal relationship with the most respected artists in jazz. Several of my articles were highly praised, but they all appeared in publications with limited distribution . I always felt that I would like to assemble a book based on that material if someone was willing to publish it. When approached by the University of California Press to do just that, I gladly accepted. This volume is compiled from my observations of the music and the gifted musicians who created it during almost half a century of careful listening. It includes my first published piece—a sophomoric review of the great Kid Ory’s Creole Jazz Band that was printed in London’s Melody Maker on February 5, 1949. Ory was a tremendous influence on the course of jazz’s development, and, as you will see, he also profoundly influenced my musical perceptions. Initially, it must be established that this book is not an exercise in jazz history, nor does it follow a strict chronological flow. While segPREFACE ments of historical interest permeate these pages, they reflect the individual perspective of a jazz purist. The key concept here is classic jazz. That admittedly narrow perspective is defined below and clearly states the ground rules by which this compilation has been assembled: CLASSIC: Of the highest class or rank. Serving as a standard. Something regarded as nearly perfect. An enduring example or model. New Webster’s Dictionary of the English Language For years, the most obtuse jazz critics have delighted in branding the art form that matured during the first four decades of this century as arcane, archaic, crude, obsolete, and merely a foundation on which “modern” jazz has been constructed. We are subjected to a collage of misguided information patched with unrelated snippets. The image they project is not an accurate reflection of what I call jazz. Several years ago, for an article called “Jazz Is a Four-Letter Word,” my research revealed that few “experts” could agree on a suitable definition of that elusive noun-verb-adjective. Because the basic word means many things to many listeners, the term “classic jazz” will cover an array of related forms, including ragtime, blues, New Orleans, Chicago, Kansas City, Dixieland, traditional, swing, and mainstream. Also, I have elected not to mention names of those who exercise virtuosity as an end rather than a means. Names appear only to extol jazz heroes whose contributions to the rich heritage of the genre have generated reverence in their listeners’ hearts. A curious literary trend attempts to promulgate the illogical theory that “latest” is synonymous with “best.” It is true that all forms of art undergo change. Jazz, too, is an evolving form, and though gradual variations are inevitable, we should never completely forget the music’s cornerstones. While technical ability is essential, the vital elements are a sustained beat, combined spontaneous improvisations, and freedom to use imagination, ingenuity, and taste. True classicism, in every form of art, is always revered and never becomes obsolete. Unlike science, which constantly advances, art only ripens and matures. This principle comes into a sharper focus when we examine other forms of art. Giotto’s fourteenth-century Florentine structures have no modern elevators or air conditioning, but can those enduring medieval spires ever be dwarfed by today’s monolithic skyscrapers posing as architecture? Despite the development of power tools and laser beams, has sculpture progressed significantly since Michelangelo carved his marble Pietà five hundred years ago? xviii Preface A treasured art form secures its future by honoring its past. Just as the works of Shakespeare, Dickens, and Steinbeck will always be studied, so will the inspirational music of Jelly Roll Morton, Louis Armstrong, and Duke Ellington remain as influential as Utrillo’s paintings, Durer’s engravings , or Bernini’s fountains. Classic is the word for them all. Shuffling through a cabinet stuffed with priceless old 78 rpm records can be a thrilling experience. A recent...