Every evening, Wilmington daily commercial., 1922-03-29
TWO SIDES OF THE JAZZ RECORD

generous view ri 3azx. IL Ike II for
It's rhythm" she says, and / con-
slider ~ better than the maykirh senti-
mentality 81 tho English ballads AT
the last analysis, 3azz is only print
tive rhythm and in a way TINT is its
trouble. IL Makes primitive APP
peal. Harmony combined with rhythm
gives us something else 20 respond 20
and brings out emotions Of q dit
ferent kind"
In Europe. jazz IL much moro high
ly regarded than In this country. AL
though it's widespread popularity has
not been viewed by the bourgeoisio
without "A storm OF scared protest.
over there, however. 10 has aroused
much interest among serious nu-
sicianr who at least respect originality.
And that jazz In an American product,
In spite Of It's supposed jungle origin.
cannot be denied.
But" says one European authority,
~ your serious American composers,
through excess culture. continue TO
ignore or sneer at jan. they may miss
n very valuable opportunity-the OPP
portunity OF initiating tho next great
revolution In music. We may discover
over here that jszz will furnish 10
European nuso that infusion OF new
blood and strength that ~ now 30
necessary 20 Its life. in that event.
/ 81 may return 10 you Americans dis
gussed a.. modern music with tho
stamp OF European approval which
/ pardon ne-seems 10 necessary 20
your cultured classes In tho United
! States. In other words, what you now
despise and reject as vulgar. cheap
snd<contemptible. your musicians may
acclaim when eventually u reappears
under a European label"
4 How Jar Started.
i Meanwhile, Jazz is undergoing a re-
form in this country. II started out IN
California a few years ago when a
young musician In the San Francisco
Symphony Orchestra decided that he
wanted to get married. and that n
order 20 accomplish the feat he would
have 10 have a larger income than
his symphony salary. There was only
, one thing for him 10 do--to take up
dance music. He did; and since then
jazz has never been the same. As a
musician, he began taking all th-
popular blues" songs and skillfully
arranging them for orchestratiou.
2 The average popular song consists
: Of merely ono melody which Is simply
d repeated over and over again. Oc-
q cssionally, at very rare intervals a
! popular song writer may grow ex.
K travagant and combine a couple Oi
O melodies, but this Is regarded as TN
= necessarily wssteful. The one melody
% OF the popular song Is the same "a
. tho theme OF classical music. Pau
20 Whiteman was the first 10 conceive
J. the idea OF taking this one JAZZ
Al melody and filing In the gaps between
II It's occurrence with counter melodies
First comes a dramatic introductlo,
leading up to the jazz melody, Will
after that each time tho melody &C
20 ours II IN preceded by Bit of--say
- Tiszt rhapsody or Chopin rnazurx
p possibly even a difficult passage b
:, Bach.
According 20 Mr.. Whiteuan. INF
: task, which is now being followed b
, nearly all the leaders Of America
:. dance orchestras, Is one which shoul
-, not incur the scorn OF good musician
"Au classical music" he says. cor
~ sists. in the final analysis, OF the fol
~ themes OF peasants which have bee
a built into sophisticated art. With III
"a possible exception OF Mcdowell an
g. Cadman, our dance music has thu
L far been Americas ono original cor
ht tr1bution to the music Of the wori
Our other music has been the resu
r. OF European influences. And EuroI
ly gives US credit for our contribution.