The Detroit tribune., 1944-06-03
ny DOv DELEIcHBrR

dance at Smalls Paradise and the
place was packed with sweating
dancers. gay drinkers and mer.
'y-makers. Dave McRaes great
lump hand OF nine musicians
were down 20 their shirt-sleeyes
as they came up with one pop-
u'ar sweet tune after another A
girl. undisiineuIshed In plain
black dress, wearing tiny hat
picked her way slowly through
the mob OF couples dancing on
the crowded floor when she got
un 70 the podium. she plucked
al McRaes coattails and said
I'D like 10 play a number with
The band I've got my union
card McRac gladly consented
ard waved 10 his pianist 10 va
cate the stool for the next set Of
songs There was slight mll
as dancers gathered around the
stand TO head what the girl was
going 10 play She looked nj Nc
Rae and nodded Lets play the
blues in R-flat' she said above
the hum OF conversation and laugh
ter
Then came some of the lowest,
dirtiest blues playing on piano
heard in these parts since the
first time Meade Lux Lewis. Al
bert Ammons and Pete Johnson
the original hoogie- woogie boys
hit Gotham. The girl was better
than good She was sensational.
The floor became a sudden mass
of struggling people. dancing
their heads Off as the music pour
ed out slow. soft and hot Nc
Rae's men supported the pianist
fsultlessly and with great spirit
and feeling
Asked To Play Modern" Tunes
At the end OF the number, and
while the applause still rang out.
the girl was raising her hand
10 announce 10 McRae that she
was finished, when several cou-
rles rushed up. and a handsome
man said 10 her please. Don't
Play any more OF that disgusting
blues stuff. Play something mod
ern like 'Besame Mucho' or The
Last Time Saw Paris Can you
play Star Dust or something like
tkat?' The girl looked at him.
slowly shook her head and arose
from the piano and walked off,
unarnounced, and as casually as
she had put In her appearance.
The incident. In a way. serves
To Illustrate serious point about
popular music concerning the Ne
gro that plays major role In
the lack OF recognition and con-
frol OF our talent shown us The
Young man who didn't want 10
hear the blues was but one OF a
vast throng of Negroes through
out the land who try TO get
away from that old fashioned
stuffp by decrylng II. by refusing
TO recognize II IN any manner
save as a throwhack 20 the South.
n slavery. and all the odious
perlods Of American Negro his
tory which they claim should be
forgotten and disowned These
are the people who make the
Hoarv Carmichaels' wealth; who
keep the Irving Berlins in the
forefront OF our modern compos-
e.s. who will listen 10 hlues writ
ten by George Gershwin but
Who will frown in heavy distaste
at blues written and played by q
Negro
/ No Recognized Hot MusIc Critics
A direct result OF this situation
lie seen IN the fact that today
We haven't single recognized
critic OF hot music who has the
liability 20 command respect among
his own people for his talent or
among the musicians who exist
on the publicity they receive
Long ago. Negro musicians have
recognized the fact that among
,heir own people theii talent isn't
rocoenized as II should he. par
ucularlv in folk music such as
tho blues and artists like Josh
white. the great guitarist now at
cafe Society Downtown; Alnert
Ammons. Sam Price. Lem John
son Joe Turner and others who
have struggled for a foothold IN
m. hearts ~ Harlem audiences.
nav. zone 10 Broadway and 10
greenwich village for the support
they deserve.
rhs, Is Why Robert Coffin.
Leonard Feather. Barry Ulanov'
us,vv Lin Dave Dexter Milt
c,her John Hammond. Jr ana
o,h,r competent. intelligent whites
h,v. taken over completely With
or, challenge the furtherance OF
x.rro folk music whore Negroes
themselves have shown iacN
q, appreciation and understand
t. Tor something strictly their
own. Many recording sessions
have been held since the war pe-
can and since the AFM disc war
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