The Winnipeg Tribune from Winnipeg, Manitoba, Canada • Page 45

Fiction Magazine Special Features WINNIPEG, SATURDAY, MARCH 22, 1010 ii tS I I II -III Ij si hi I ivVsi1 yy ft! l4 I I SM I EurPe Welcomes with "Wild Enthusiasm" I III U- the Funny, Fascinating "Supersyncopation" I I ii'iSll V'JC'' of New World's New Dance Novelty1 Yiv Vfr' Sk'-- I lT "PPears, from what experts in such Hie effect of permitting the dance Itself to take fj A -SjHM I I now Jnzz nas many of the Initial beats, leaving the orches- -Q 'f "yyrii I iL fifs 1 I I "arrived." Mere than that, it has been tra as a kind of accompaniment. JJJ $1 -jj (. 'I 1 lj 7k. Ii II jj" 1 I crowned as a musical fact. Of course, The Jazz dancer, the specialist In this Ji jf i'j I I Jr vU -s- fit Jr yi If you are a highbrow you are shocked.

sublimated form of rag, naturally came with jjljj 'j "1 11 f. AJ Ill Xr Sf i Put civilization, or at least the perpetual effort the development of Jazz music Itself, lie and jijj fJ ij 1 V'jfc i V- if toward civilization, is Just-one shock after an- she have blossomed in the cabarets. Lji -1 r'yff 'Jf-' lL other. Then Europe got It. Europe had already" fj fJi 5 II 1 1 -O -'i Yw I 1 First the highbrows were shocked at the gone hysterical in Its time over rag.

The kings- Mllll Si I I a recognition of ragtime. They pointed out con- who-once-were giggled over It. Duchesses illf (l flL JrMrf iVr JV 1 tempt uously that syncopation wasn't new nt all danced It. Now they have Jazz. "Do you Jazz'" jy N2f N.

If IV i ll ft that Liszt had used It in his Hungarian rhap- has become a popular greeting. One cable dls- tij "'1 tjr I I yw '6NyT Jtl. i1. sodics and that other composers patch says: "London goes mad In revelry of fij 'j2s3' gS- r-r'rs witn 11 ln fneir Play- Jazz." "I have never In all my years of ex-" fjfj jv T'' Yr VC'' M'" "wQi ful (and not quite proper) moods. perience been as busy as I am now," one of the 'h 1 j-J" lii' '-i' It hurt their feelings dreadfully best-known d.anclng teachers in London said jjj-l irj Jiij 52S j- iJW that should be recognized recently.

"I have more pupils In classes and 3 'i I as something more than simple for Individual Instruction than I have ever had, fcj i'ii lt' syncopation with a quality ln it more applications from than I can pos- II I 18 5 'v vcry nard i-0 in musical sibly accept. The majority of my pupils arc 0 jjj-i r'C; -rl if" J--LluSi 1 jj -j 'r notes. They were willing to have women and girls, but I have plenty of young jj K5 i'3 1 the biggest composers recognize officers and even middle-aged officers who try IJJ 5 Jij rl i' JfX ttic waltz of Spain, the hard. They all want to learn the latest dance. jjpj II i mazourka of Poland, and the rhap- the Jazz, and any variations upon it." You 1,5 ff yV.

Or i ix vS. sodic whimsicality of Hungary would think, to hear the descriptions, that all fj! fy 5y Inventions, all wild, London was In a kind of Jazz delirium. Make lj 'Qz yr free-grown musical slang. But It all due allowance for artistic exaggeration. rjj jjj sey yy r'-iJ went hard that America should "All London" means about the name as "AH 'J j2 1 if VI yr- 1 produce anything original that New York" or "All Pittsburgh" or "All Win- jjj j'j 'jjr yr" wasn't original at the top.

Unfor- nlpeg." ji 5 tunately, most original, flavor- Nevertheless, Jazz has arrived. It has caught r3 Jvj I A some, distinctive things como up the fancy of the world. Jimmy Europe's Jazz jj bf; froln an(l not down from band really made av tremendous hit on. the other Jjsj "sV "above." side. 5 it- A'yV 'N.

Well, then came "Jazz." What Is Jazz? Who'll When Jnzz is played by an orchestra and not jj fH take the responsibility of saying what It Is? by a simple band, the person whom James Who ln Austria's musical academies, for ex- Whitcomb Itiley called "the little man In the it V'i Ij yf ample, could have told what was the peculiar, tin shop" Is an exceedingly Important unit He lj 14 ft different something in the Second luiapsody? plays the bass drum (with his foot), the snare 'jj i f. I I 1 Walter J. Klngsley, who Is quoted as an au- drum, the "bones," the bell, the triangle, the I A thority, says that Jazz" is supersyncopation. cowbells, the locomotive whistle and other ij Ji I I I That's a mouthful. And Jazz Is an earful.

Just nameless accessories. yes! he Is busy. And f3 ffi 15 i tll I a plain outsider might say that the new Jazz he always seems to have nt of the fun. Most Pi i -J III I people, I fancy, feel as Kilcy the poet felt they ft P. iti iJ I Jf 111 I element was a sliding note.

Consequently it would like to take a short turn nt being "the I th h) I (CI can't be played truly except by the aid of an little man in the tin shop." He Is the humorist fe -17 1 I 1 Instrument capable of a sliding note like the of orchestration It Is he who puts in the point f'1 7 Ml I V'V trombone or the saxophone. But there an- of t.he A If III I A An enthusiastic writer from abroad states ry ill I 1 i I other distinctive element, the hnlt. as if the case: "The lights seem to sway and gleam j- -III' Dan(J na stubbed its toe and all came and glisten more th.in ever before, the mtisl- tei I tumbling back into step again as soon as they clans ore Intoxicated with energy, the dancers fi i I Ml triumphant with movement. This Is the era Is f.1 '1 I could- This accentuates the T.g feature of energy, movement, perpetual motion. The fJ tj I 3 which gets much of Its dance fascination from jazz is a symbol.

1 I ----------------------i i laM1ill i Europe Welcomes with "Wild Enthusiasm" the Funny, Fascinating "Supersyncopation" of New World's New Dance Novelty 1 mT appears, from what experts in such matters now say, that jazz has really "arrived." Mere than that, it has been crowned as a musical fact. Of course, if you are a highbrow you are shocked. But civilization, or at least the perpetual effort toward civilization, is Just-one shock after another. First the highbrows were shocked at the recognition of ragtime. They pointed out contemptuously that syncopation wasn't new nt all that Liszt had used it in his Hungarian rhapsodies and that other composers had dallied with it In heir play- ful (and not quite proper) moods.

hurt their feelings dreadfully that "rag" should be recognized as something more than simple I syncopation with a quality ln it iY very hard io write in musical C' They were willing to have "JV the biggest composers recognize the distinctive waltz of Spain, the s-- mazourka of Poland, and the rhap- Ss sodic whimsicality of Hungary jV" an peasant. Inventions, all wild, free-grown musical slang. But It went hard that America should produce anything original that wasn't original at the top. Unfortunately, most original, flavor-some, distinctive things como up from below and not down from "above." Well, then came "Jazz." What Is Jazz? Who'll take the responsibility of saying what it Is? Who in Austria's musical academies, for example, could have told what was the peculiar, different something in the Second Iiimpsody? Walter J. Klngsley, who Is quoted as an authority, says that Jazz" is supersyncopation.

That's a mouthful. And Jazz Is an earful. Just a plain outsider might say that the rtew Jazz element was a sliding note. Consequently it can't be played truly except by the aid of an Instrument capable of a sliding note like the trombone or the saxophone. But there is another distinctive element, the sudden hnlt, as if the band had stubbed its toe and all came tumbling back into step again as soon as they could.

This accentuates the "r.ig" feature which gets much of Its dance fascination from I the effect of permitting the dance Itself to take fjj many of the Initial beats, leaving the orches- tra ns a kind of accompaniment. The Jazz dancer, the specialist In this jHj sublimated form of rag, naturally came with 0 Jfc the development of Jazz music itself. He and ju she have blossomed in the cabarets. ih Li i f-'s Then Europe got it. Europe had already" Js 0 gone hysterical in Its time over rag.

The kings- jupj who-once-were giggled over it. Duchesses danced It. Now they have jazz. "Do you Jazz'" jy Jjjj has become a popular greeting. One cable dls- patch says: "London goes mad In revelry of I'ij Jazz." "I have never in all my years of ex-" fjfj ff'.

perience been as busy as I am now," one of the tnj best-known d.anclng teachers in London said jjj-l recently. "I have more pupils In classes and jj-J for individual instruction than I have ever had, rj more applications from than I can pos- sibly accept. The majority of my pupils arc 0 women and girls, but I have plenty of young K5 officers and even middle-aged officers who try IJJ 5 hard. They all want to learn the latest dance. 3 jjpj the Jazz, and any variations upon it." You 15 would think, to hear the descriptions, that all fcij London was ln a kind of jazz delirium.

Make fj all due allowance for artistic exaggeration. rjj pj "All London" means about the name as "All 'i New York" or "All Pittsburgh" or "All Win- Pi t3 nlpeg." ft h-' Nevertheless, Jazz has arrived. It has caught r3 Jvj the fancy of the world. Jimmy Europe's jazz jj bf; band really made av tremendous hit on. the other side.

'4 I When Jnzz is played by an orchestra and not by a simple band, the person whom James tjg Whitcomb Itiley called "the little man In the 5 tin shop" is an exceedingly Important unit He ij: plays the bass drum (with his foot), the snare drum, the "bones," the bell, the triangle, the 53 cowbells, the locomotive whistle and other nameless accessories. yes! he Is busy. And f'JI fi he always seems to have nist of the fun. Most '2 ii people, I fancy, feel as Kilcy the poet felt they ft would like to take a short turn nt being "the little man in the tin shop." He Is the humorist Cc of orchestration It Is he who puts in the point of the joke. j-3 An enthusiastic writer from abroad states the case: "The lights seem to sway and gleam 65 fij and glisten more than ever before, the mtisl- clans nre Intoxicated with energy, the dancers IsJ 5jl triumphant with movement.

This Is the era lz j. of energy, movement, perpetual motion. The jazz is a symbol. yj I I aE3Ra.