Cayton's weekly. [volume] (Seattle, Wash.) 1916-1921, 1917-09-01

Patterson once more:
With these elastic unitary pulses any
haphazard series by means Of syncopation
can be readily, because instinctively, CO.
ordinated. The result is that a rhythmic
tune compounded of time and stress and
pitch relations is created, the chief char
actertistic of which is likely to be compli-
Gated syncopation. An arabesque of &C.
centual differences, group-forming in their
nature, is superimposed upon the funda-
mental time divisions.
There is jazz precisely defined as re-
suit Of months of laboratory experiment in
drum-beating and syncopation. The laws
that govern jazz rule in the rhythms Of
great original prose, verse that sings it.
self, and opera Of ultra modernity. 'Imag-
inc Walter Pater Swinburne, and Borodin
sWaylng to the same pulses that rule the
moonlit music on the banks Of African
rivers. -
For years, we are told, jazz has ruled
in the underworld resorts of New Orleans.
1t has emancipated itself in part from it's
original surroundings
There in those wonderful refugees of
basic folklore and primeval passion wild
men and wild women have danced to jazz
for gladstone generations. Ragtime and
the new dances came from there, and long
from resort to resort until it landed in
South Chicago at Freiburg's, whittier it
had been preceded by the various stanzas
Of Must l Hesitate?' The Blues, FRANKIE
and Johnny and other classics of the levee
underworld that stire the savage in us
with pleasant tickle. Freiburgs is an in
stitution in Chicago. If you go South
you must visit that resort.
Now let me tell you when Jazz music
was first heard on the Great Wine Way.
l forgot to tell you that it has fourished
for hundreds of years in Cuba and Haiti,
and, Of course, New Orleans derived it
from there. Now when the Dollys danced
their way across Cuba some years ago they
now and again struck band which played
a teasing, forte strain that spurred their
1.-THE young limbs into an ecstasy of action
and stimulated the paprika strain in their
blood until they danced like maenads Of
the decadence. They returned to New
York, and long time later they were
booked on the New Amsterdam roof for the
Midnight Frolic, and Flo said:
Haven't you something new? My
kingdom for a novelty And Rosie and
Jenny piped up and said that in Cuba
there was funny music that. they weren't
musicians enough to describe for orchestra
ton, but that it put little dancing devils
III Jnelf legs, mace their DOdleS swing and
sway, set their lips to humming and their
fingers to swapping. Composers were called
in; not one knew what the girls were talk
ing about; some laughed at this 'daffy-
dinge music Flo Ziegfeld being man
of resource and direct action, sent to Cuba,
had one Of the bands rounded up got the
Victor people to make records for him, and
the 'Frolic' opened with the Dollys dane
ing to monograph record. Do you re-
member? Of course you do. That was
canned jazz, but you didn't know it then.
First time on Broadway, my dear. My
own personal idea Of jazz and it's origin
is told in this stanza by Vachel Lindsay:
Fat black bucks in a Winch barred room
Barrel house kings with feet unstable,
Sagged and reeled and pounded on the
table,
Pounded on the table,
Beat an empty barrel with the handle of