The guardian., 1956-07-28
World of Music
RY kaI Kanf

JAZZ AMERICAS ORIGINAL ART FORM'
Jazz was born in New Orleans at the turn Of
the century Buddy Bolden, barber by trade pick
ed up his battered cornet and played the first notey
Of "Jazz' King Oliver Louise Armstrong and Jelly
Roll Morton took his and New Orleans residents
had music they could call their own But not for
long The musicians wanted to be heard, thus Arm
strong and Oliver packed their horns and moved
to Chicago The good people of Chicago accepted
this new music" beyond all expectations group
of Chicago musicians were enthralled by what they
heard and organized a Jazz" Band of their own.
They took the best of the New Orleans Music gave
it little polish, ana we had "Chicago-Styled jazz
Benny Goodman, Gene Krupa and the late Blk
Beiderbecke were among this group.
New York is progressive city and was not to
be outdone by the New Orleans and Chicago
Greats The late Fletcher Henderson organized a
larger group utilizing head arrangements During
the ensemble passages the entire band would read
The solos were straight from the heart. Coleman
Hawkins was but one Of the Henderson Alumni
Swing, highly polished form Of jazz was
ushered in by Benny Goodman during the mid
thirties. The entire nation stomped their feet clap
ped their hands, and in general fell in love with
the poWerhouse aggregation. Swing was here to
stay. Harry James, Lionel Hampton, Gene Krupa,
and Teddy Wilson were the high priests of this
great band Because of the success of the Good
man crew, count Basic Duke Ellington and hun
dreds of other Jazzmen had market for their pro-
duct
Jazz Began moving in new directions Not con-
tented with standing sti its pioneers began new
movement. "Eop" was the title dubbed to a music
created during the mid-forties. Dizzy Gillespie and
Charlie Parker joined forces and the music world
had revooution on its hands Bop, like its prede-
ceSsors, had small following during its infancy It's
real impact was felt when Woody Herman jumped
on the bandwagon. With Bill Harris Flip Phillips,
Shorty Rogers, the CondoliS, and Don Lamond,
the laundering herd bopped their way to second
fame in the nations outstanding clubs and ball
rooms
No article on Jazz would be complete without
mention of Stanley Newcomb Kenton. Stan took
bop, added few musical 1ourishes, and we had
progressive jazz STAINS music was tailored for the
concert stage. Carnegie and Symphony Halls
cepted Stan in the same gracious manner they
would have welcomed toscanini.
Today, have raging battle in music. The
EAST Coast School" VS.. ''West Coast Jazz" their
really isn't much difference between the two It's
merely case of where the musician is performing.
The music remains the same.
Their Is a third school which are giving the
others run for their money I like to call them
"Neo-classical Hornmen" Gerry Mulligan, Dave
Brubeck ard Chico Hamilton fall into this category.
Counterpont is the keynote in their musical lives
AS in ell arts, the artist pays stiff tariff for
his bid to fame. Eis message may bear the
marks Of genius But like Bach, Bottecelli, and Poe
his struggle for reconition is difficult one. The
man with new style must mark his time with
patience. Sonleday, he, too, will find success.