New Britain herald. [microfilm reel] (New Britain, Conn.) 1890-1976, 1928-07-12
MATTHEWS AND JAZZ

Professor George B. Matthews
who has become veteran super
visor of music study in the public
schools Is finding himself in the
same position as Wilberforce J.
Whiteman of Denver. Colo. White
man is supervisor OF music IN the
Colorado metropolis and is the kind
and indulgcnt father of Paul White
man. jazz king. 1t so happens that
Professor Matthews also is the dad
of jazz boy. His son John plays
wicked saxophone and right at this
moment is helping to make the feet
OF dancers keep step at a Maine re-
sort. Perhaps Professor Matthews
feels just like Professor Whiteman
felt when the boy Paul began to WOO
lady jazz. On the one hand stand the
two dads, both possessing idealistic
musical standards and trusting the
world at an early day will be con-
verted to the symphonic standard
of Beethoven and the operate
standard of Signor Puccini on the
other hand stand the two musical
sons, one king of jazz the other get
ting started along the same royal
road of the shimmy and success.
The situation being what it is, 1t
was incumbent upon our music
supervisor to say something print
able about jazz when a reporter
mildly brought up the subject re-
Gently. "Oh, Jazz is all right In its
place" in effect said the cautious
gentleman; but its place isn't In
school,
Time was when a musical super
visor, speaking about jazz, would
have had pointed and ornery darts
of speech flowing fluently. Either
times have changed or being father
to jazz artist makes difference.
That's all the evil the professor said
about it, except that he brought up
one other thing that needs a some
what careful analysis.
The trouble with Jazz is that
there is no melody TO it, in a gen
eral way Professor Matthews COM
planned. Well. that may be, but
probably isn't. We cant see how he
could have meant it. And for this
reason. to wit;
The Jazz composers in Tin Pan
Alley have been accused 'of cribbing
a large percentage of their tunes
from the classics. Indeed. a Jazz
symposium by Abel Green, Jazz mu-
sic editor of Variety" admits it as
perfectly legitimate. The explanation
is that as any good tune is capable
Of being peppered up with jazzy
only similarity between the new and
the old is the tune, then it is not
morally wrong to treat or mistrea'
any accomplishing tune in tina
manner. Besides. people like it
Thousands have danced to the iazze,
from the New World Symphony t
one person who has heard it in TIL.
original; and as a consequence thou
sands have become acquainted will
the tune who otherwise would neve
have heard it except by acciden,
cidents Then how is it possible I,
claim Jazz e not tumeful, when as
matter Of fact the Jazz industr
makes it a point to hinge its paprik
/ Instrumentation upon good tune
! from good sources?
And that's that. Lastly, there
, money in playing the sax jaZzicall,
The sax is a noble instrument, car
able of playing what one cares t
f have. Mr.. Matthew'S youngster ha
found that out; he plays uplift mus
1 when his dad is listening, an
= twists the atmosphere in all kind
9 Of devilish ways when his dad
e safe at home in bed. Well bet II
. sax industry pays SO well that tt
0 boy will be able 10 pay his wa
4 through college without drawing G
: dads nest egg.
$ This is not to be construed as
s defense Of JAZZ. AS Mr.. MATTHEW
g said. it'has It's place We hope "
t have put it there, even if the nicl
is a peg higher than originally il
= tended.
" New Haven Man to Speak