Thanks for this. A week or 2 ago I subscribed to another newsletter specifically about early jazz. The writer was soliciting requests so I asked for James Reese Europe recordings. This was wonderful. Only thing missing is film of people dancing to that tempo.
Was it Duke who said only 2 types of music, good & bad?
I know Maurice Ravel led members of the Paris Conservatory to Duke’s first Parisian concert. Afterwards, Ravel greeted him as one of us.
Thank you for reminding me that one really important aspect of this is the way people were dancing which was, back then, commonly the one step, the rhythm of which clearly affected how the music developed. I’m not a real expert on that though I really should get up to speed. Larry Gushee, who was really the most knowledgeable person who ever lived on this stuff, fortunately did talk about it and taught me a great deal. I really miss the guy
I played bass in a psychedelic Western swing band and when I was on it felt like the dancers were on puppet cords. Switch from ascending to descending figures and I could see their weight shift. Some tunes called for a more tuba-like line and that was a whole different feel for the dancers.
Deadheads developed a whole new repertoire of dances based on bassist Phil Leah’s aversion to patterns.
Thanks for this. A week or 2 ago I subscribed to another newsletter specifically about early jazz. The writer was soliciting requests so I asked for James Reese Europe recordings. This was wonderful. Only thing missing is film of people dancing to that tempo.
Was it Duke who said only 2 types of music, good & bad?
I know Maurice Ravel led members of the Paris Conservatory to Duke’s first Parisian concert. Afterwards, Ravel greeted him as one of us.
Thank you for reminding me that one really important aspect of this is the way people were dancing which was, back then, commonly the one step, the rhythm of which clearly affected how the music developed. I’m not a real expert on that though I really should get up to speed. Larry Gushee, who was really the most knowledgeable person who ever lived on this stuff, fortunately did talk about it and taught me a great deal. I really miss the guy
I played bass in a psychedelic Western swing band and when I was on it felt like the dancers were on puppet cords. Switch from ascending to descending figures and I could see their weight shift. Some tunes called for a more tuba-like line and that was a whole different feel for the dancers.
Deadheads developed a whole new repertoire of dances based on bassist Phil Leah’s aversion to patterns.
That so well describes the almost magical symbiosis between musician and dancer. Allen does the same with music and words.
So, where and how did jazz start? Is the answer coming in part 2?
well, I will speculate - but I have already, with James Reese Europe, given one example of its origins. Stay tuned, it's a complex subject.