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The MENC: National Association for Music Education Jazz in New Orleans Author(s): Edmund Souchon Source: Music Educators Journal, Vol. 43, No. 6 (Jun. - Jul., 1957), pp. 42-45 Published by: MENC: The National Association for Music Education Stable URL: http://www.jstor.org/stable/3388229 Accessed: 13/02/2009 20:03 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=menc. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact support@jstor.org. MENC: The National Association for Music Education is collaborating with JSTOR to digitize, preserve and extend access to Music Educators Journal. http://www.jstor.org Jazz in New Orleans Why young musicians A WE ALL KNOW, EDMUND SOUCHON sound better on ZALZER rr Bb FRENCH HORNS You can build a far stronger horn section if you'll follow the modern swing to Bb ZALZER French Horns. 1. ZALZER Bb is comfortable to play, easier blowing, more responsive. 2. Beginners develop good embouchure more quickly on Bb Horn and more easily maintain it. 3. Tonal production more reliable. is easier, and jazz has been the subject ef bitter controversy. It has been denounced from the pulpit on the one hand, and derided by classical musicians and critics on the other. Contrary to what one might expect, I am not offering an apology for jazz, nor am I a crusader dashing into battle with banners waving and armor shining to defend it. My desire is to share the pleasure I have derived from looking just beneath the surface of the music, and the result of searching for the deeper meanings of the music through phonograph records and through readA record collection begins innocently enough. Mine began somewhere in the late "teens" of the century. At first, it was confined entirely to so-called "hot records." Gradually, almost imperceptibly, I began to find folk music and songs of the deep South increasing in numbers in my collection. Only a few steps were then necessary to plunge headlong into ethnic recordings which touched only remotely upon jazz. The records sought became more and more difficult to find, especially because they now leaned to recordings which had been made in Africa. I hardly suppose that it is necessary to say that long before this stage of record collecting was reached, it was found essential to do a bit of collateral reading. This led into a much deeper study of early Louisiana, and especially of old New Orleans. Also, the subject of slavery became a "must" in my reading. ing. early historians). His notes on our "Congo Square" and the early instruments and music of the slaves has proven invaluable in my research. (Latrobe might also be classified as a splendid architect, an artist, a musician and musicologist, and finally an anthropologist of great merit.) It is a basic fact that many of the American Negroes are descended from imported slaves and their descendants. It is seldom realized, however, that much of what is now called "jazz" is linked to or traced directly from the music which stemmed from these peo- ple. Certainly, their music affected jazz and influenced it very deeply. Let us touch briefly on some dates that are pertinent in unfolding the history of jazz. 1619-The first slaves were brought to America (Jamestown, Virginia) by Captain John Smith. 1720-Slavery was made "legal" in Louisiana. (Both these dates are comparatively late, as Haiti, Cuba, Jamaica, and Puerto Rico already had slaves since the year 1562.) was declared illegal in 1808-Slavery America-yet within the next fifty years some 2,500,000 slaves were landed on our shores! 1864-The America. last slaves were brought to 4. Brilliant Bb Horn tone carries more clearly in solo or in large ensembles both indoors and in the open. 5. Actually fun to play, as well as being more effective musically. An important factor in dealing with young musicians. to be a pleasure 6. Designed for young folks to handle. Built from brass of special formula and tempervery thin, extremely resonant-compact. 1863-Emancipation + (almost exactly of jazz). coincident with the beginnings Such rare periodicals as The Century Monthly of 1885, 1886, and 1887 were found, as well as a fabulous book by B. H. B. Latrobe (who was probably the most versatile of New Orleans' What is known as the "drum language" is usually thought of as a sort of Morse Code. This is entirely false. The drums were actually used to imitate their own speech, and such perfection was attained in the use of these drums that inflections on individual I 60 Broadway, Brooklyn 11, N. Y. Send me facts onthe Gretsch-Tilson ation Aptitude Test. Music Bb F both Zalizer D1 Send me more details on informationon and I NEW French Horns, including SIMPLIFIED FRENCH HORN TEACHING I MJ-657 I METHODS. I L?_ ........................ ..................... e Na m o .. ................ ..................................................................... School. Zone ....... Zone ........ | ~. .. City | C ity. . ....... ........................... *: JAZZ AT THE MENC could very well be the caption for this picture. It shows ...... .... ...... ......... . .. .................. ...... . ... Sta te a scene following the session on "New Orleans Jazz" included by President Wiley Housewright in the program of the 1953 MENC Southern Division Convention at New Orleans. The speaker was the author of this article, Dr. Edmund Souchon, The president of the New Orleans Jazz Society, whose lecture was illustrated with musical examples by Sharkey's Knights of Dixieland. Here Mr. Sharkey himself is Fine Musical Instruments Since 1883 the overtime crowd, whose reaction you can judge from visible entertaining expressions. The organizing chairman of the session, Leonard Feist, then a member of the Music Industry Council Board, is standing in the right background. @@e# o*.ffi.**@ Co. GRETSCHMfg. FRED. ___ _ _ Page 42 Music EducatorsJournal syllables were obtained. That this was used as a means of communication was well known to the slave owners, and so drumming was absolutely prohibited from 1619 to 1864-a span of approximately 250 years. However, in spite of the ban, some 150 major uprisings occurred in cities spaced many miles apart, and timed to take place on exactly the same day and at the same hour. It is also interesting to note that a drum of large size, made in 1728, is on exhibition in the British Museum. All these points are made in order to show that the art of drumming-although absolutely prohibited-continued to flourish in the colonies. As a means of divertisement and amusement in New Orleans, the slaves were permitted to assemble, usually on a Sunday, in what was known as "Place Congo" (Congo Square, now called Beauregard Square). Hence, they could indulge in their music, their dancing, and their songs and chants. This continued until the late 1880's. Their instruments, so historians tell us, consisted of large drums fashioned out of hollowed logs with the tanned skins of animals stretched over the ends. These were beaten with the thigh bones of animals. Smaller drums, corresponding to our snare drums or "kettle" drums were made from the hollow stalks of the large-size bamboo. These were called the "Bamboula," and from this drum came the name of a dance, the "Bamboula." Empty kegs, barrels, and anything which made a sound when struck were made use of. Other "instruments" consisted of rattles made from the dried heads of the horse or mule, with the teeth still hanging loosely in their sockets. A heavy metal key was drawn over these to produce a different sound. The voices of the singers, of the musicians, and of the dancers themselves also blended into a savage cacophony. Very much in evidence was the "call and answer" between a leader and the other participants. + We are fortunate that many of these chants and songs have been recorded on the written page by early historians. It brings out the point which is so important in this short resume, that all the music was in the pentatonic scale (five notes in contrast to the seven or eight, if the octave is included, of the European scale). The rhythm, so far as we are able to determine, was of a 4/4 beat, with the accent on the off-beat. This has frequently been interpreted as a 2/4 rhythm, and as a result of this, New Orleans music has been erroneously referred to as "Two-Beat." As we all know, the flag changed hands some ten or eleven times over the city of New Orleans. Among the nations very much in evidence here were the French, the Spanish, and the English. There was also a goodly admixture of Italian, German, Arcadian, and Creole. The only stable population during these many changes was the slaves, since they were sold from one plantation owner to the other as the changes June-July,Nineteen Fifty-seven f l.I I. .. -J vuI MARCHES I BIG-NAME t * HIGH SCHOOL CADETS 0 SALUTATION * S.I.B.A. 0 THE STEEL KING CONCERT MARCH plus plus FANFARE, AMERICA, and THE STAR SPANGLED BANNER (key \ " I Bb) . I j MLaCco P"wefpI,,su 44a a EASY! emw 4 .... SOLID! FULL SOUNDING! Not average watered-down, extra simplified variety. Arranged to give the school marching band the kind of music they CAN play ON THEMARCH. Complete Instrumentation Available. Fully Tried and Proven. CONDUCTOR, $1.00 PARTS,each, 25c THE Ia WILI/S MUSIC CO. 124 EASTFOURTH STREET, CINCINNATI OHIO 1, OJs&i~ EASY TO SET-UP'MOVE STORE F1r: '7"v 1 f - I r FORANY SIZE BAND, or ORCHESTRA CHORUS Custom-built to fit your band, orchestra, or chorus. Sturdy. Safe. Guaranteed. Set up fast .. . take'down quickly ... store compactly. Also combination risers and portable stages for any event or performance. New 1956-57 illustrates catalog many types of risers, portable stages, sousaphone STORE chairs, variety shows, and other items. COMPACTLY! the "Down Middle" Wenger... top name in risers! Exclusive fold cutsstorage space in half. Wenger risers fold into sections Write for FREE Cata- ONLY 2 FEETWIDE RISERS - FREE giv layout promptly. enger MUSIC PORTABLE STAGES EQUIPMENT - CO. Page 43 13 WengerBldg. Owatonna.Minnesota SOUSAPHONECHAIRS in nationalities in control of New Orleans took place. And each one of these nationalities contributed their share in the formation and shaping of the music became known as which eventually "jazz" or "New Orleans Music." Before emancipation, the slaves of higher mentality found their way into the homes of the owners, being used as maids, butlers, bus boys, men servants, cleaners, and so forth. Such a thing as owning or possessing any musical instruments by the slaves was unheard of. I want to stress this pointbut-and op A the slaves were being exposed to the music which their masters and mistresses made in the drawing rooms, parlors, and music rooms. Whatever took place in these drawing rooms was carried back into the slave quarters by memory alone. Here THEBASICTEACHING TOOLIN the songs and tunes were imitated, as ELEMENTARY MUSIC CLASSES well as they were able, with their voices. Here we again bring up the important L .individual 2 0^^ subject of the pentatonic scale. I tone.. bars give .~~~~~~~~~~~~~ this was a diatonic major . .. Remember, 20 youngsters a featured part in scale. They had no notes to correspond making melody. Keeps them | with the third (mi) and the seventh (ti) i alert, makes training fun. notes of the European scale. Their ears could not fathom just what was going / on. The closest they could come to these h notes was by sharping the note below Accurately pitched in normal the third and the seventh notes. Or by singing range of youngsters. Ideal adding what sounded like a minor third for voice as well as instrumental or seventh. These notes became what training. are known today as "blue notes," and any jazz musician of today is not worthy of his name unless he can produce these "blue notes"! Recall, also, that these songs taken back and repeated to Clearly marked sharps and flats, conform with their own untrained ears black and white as in piano keywere also placed with and used with the sound underboards, develops basic four-beat of the inbred rhythm of standing of tone relationships. the African. Do we not readily see the fashioning of our jazz idiom? SIGN HERE . * FREE + F GUIDE / TEACHERS' OR PY Now we have the whole thing unfolding rapidly. By this time, many "freedMusic Center The Wholf men of color" were the proud owners * 425 S. Wob/sJi Ave., Chicago 5, III. * These they of musical instruments. Send me copy of the American demonstrated before other slaves, and Prep Teahrs' Instruction Guide.MEJ as soon as emancipation came there was MEJ * an avalanche of slaves trying to obNAME. tain instruments. These were obtained ADDRESS through various means, the first being by appropriating the stacks of instruSTAT CITY, ments which the troops abandoned in .eeeeeeeee..ee.eeeeeeeee.eee the public squares. Other instruments were obtained from masters who were anxious for the slaves to remain with FOLKWAYS RECORDS World's leading producer of AUTHENTIC folk music on them. Some former slaves were now THE ETHNIC FOLKWAYS LIBRARY RECORDS, including an unusual selection of the music of which contains making small salaries and were able to recorded on location by native orchesover 400 peoples, tras and vocal groups: each Long Play Record is accombuy cast-off instruments in pawn shops. and recnotes by famous collectors panied by extensive ... ognized authorities were simply reOther instruments And the famous SONGS TO GROW ON series for children. ANTHOLOGY OF JAZZ and AMERICAN FOLK trieved from trash cans. The Negroes SCIENCE and LITERATURE MUSIC, INTERNATIONAL, series. were now free to practice and play as for quality ALL FOLKWAYS RECORDS are guaranteed For complete catalog write and content. of reproduction much as they wished. to: FOLKWAYS RECORDS & SERVICE CORP., 117 West 46th St., New York 36, N.Y. When the "slaves" (of course, freedmen now) began taking up the use of instruments, a very interesting process "in reverse" began to take place. ReBeginners don't need Strads, but their violins-violas-cellos-basses member, the early slave "bands" used are never "right" unless they're their voices to imitate the instruments the right SIZE; unless they and "speak" easy, "sing" clear, they had heard. Now, in the use of the (ANDI) stay in tune. (That's instruments, they began to imitate the right, stay in tune!) For full details, write the name of this publisounds made by the voices. a cation above your signature on Besides the two basic fundamentals post card. Do it now! 545 which emanated from Africa itself (the IRITONE,INC., 5th Ave., N. Y. 17 U i * CNICAGO 47TI 2811WEST STREET 32. ILLINOIS MUSIC KEATON TYPEWRITER Music writers and printers-to speed and ease machine designed solely to type your tasks-a precise music notation swiftly and cheaply. The KEATON saves time, gives superior results. only 25 pounds Portable-weighs With carrying case, $255.00 ^f- fcjjm^Ni(N. t ,I..---- J (y.J-J. ^-j la1 H W -a * 'I (Notes 1/2 actual </"' : TARG & DINNER, Inc. : : CO. KEATON MUSIC TYPEWRITER ,_ 461 Market St., San Francisco 5, Calif. I me A large selection of fabrics and colors; excellent reasonable workmanship; prices. Write for catalog and samples. Bros. DeMoulin &Co. 1083 So. Fourth St. Illinois Greenville. DON CHORAL 310 CRAIG CONDUCTOR Personal Management (Miss) Sydney Johnson New York 24, N.Y. West 77th Street 7.5803 Susquehanna Page 44 Music Educators Journal m ANNIVBRSARr PLAY DON'T WITH FIRE basic four-beat rhythm and the "blue notes"), two other factors enter into the fashioning of true jazz. They are: (1) Extemporaneous composition, (2) exharmonization. group temporaneous These must be superimposed upon a solid foundation of rhythm, plus the use of the so-called "blue notes." A real jazzman can play a tune in many different ways. His virtuosity depends upon the number of ways he can play it, and is not dependent upon ' technique (although technique i-s not to ?y PIANOS be discarded as a handicap, but rather to be used in "good taste" as a means to an end for innumerable variations). In conclusion I would like to name a few "real jazzmen" of that early period: The first recognized "popular band" was that of "Buddy" Bolden, a Negro who was born in 1878 and was old enough to have listened to music in Congo Square. Bolden's musical tareer began about 1893. Jack Laine, called the "Father of White Jazz," was the first of the recognized white musicians to have an impact on New Orleans. Born in 1873, he is still living. Laine at the peak of his popularity had as many as six or eight bands playing at one time. Tom Brown was the first white jazzman to leave New Orleans to go to Chicago in 1914. He played at Lamb's Cafe where the soubriquet of a "jazz" band was applied in order to divert patrons. The title, however, had the opposite effect and drew thousands. From this band the original Dixieland Jazz Band obtained their famous white clarinetist, This band went to Larry Shields. Reisenwebers in New York where they became an overnight sensation. Their -I I I~~~~~~~~~~- record was made in 1917 and sold first one and a half million copies. A46 Another famous jazzman, Freddie O Robe Styles to "Buddy" Bolden Keppard-successor 5 Swatches of material i -refused a recording date, saying he and color for fabric was afraid people would copy his style! sted We're interes in New Robes Selected List of Jazz Recordings Reconditionecd, used, for Royal Watusi Drums. Belgian Congo, Robes L. P., 33%. Bahutu Chants and Dances. Belgian PulpitGown Congo, L. P., 33%. Robes Jesus Gonna Make Up My Dyin' Bed. ] Confirmation Columbia, 78. 5 Haverepresentativewith Sicco (African Tribal Music). Esoteric, mne apfor samples, pho L. P., 33%. pointment. Motoraa Rah (Tahitian War Dance). Tempo, L. P., 33/3s. Work Songs ("Long John," "Jumpin' E. R. MOORE CO. Judy") Library of Congress, 78. 268 Norman Ave., Brooklyn 22, N. Y. Negro Children's Games ("All Hid?", 932 Dakin St., Chicago 13, III. "Little Girl," "Pullin' A Skiff," "Short1641 N. Allesandro St., Los Angeles 26, Calif. nin' Bread"). Library of Congress, 78. Harmonica Breakdown. Folkways, L. P., 33%. Dallas Rag. Folkways, L. P., 33%. Memphis Shakedown. Okeh, 78. San. Brunswick, 78. Candlelight services, Pageants, use Little Boy, M.G.M., 78. STRAYLINE'S SAFETY CANDLE Swing Low Sweet Chariot. Victor, 78. BATTERY OPERATED. WHITE PLASTIC Thinkin' and Worryin'. Alladin, 78. lighted prism cut plastic flame. Color Pipe Maple Leaf Rag. Circle, 78. disc for colored lights. Used by some of Coon Band Contest, Victor, 78. the largest Colleges, West Lawn Dirge, Paradox, L. P., 33%. Schools, Church e s, Didn't He Ramble. American Music. 78. Choirs. Complete with Yancey Special. Atlantic, L. P., 33%. batteries $18.00 Dz. 0". $21.00 Dz. 12" Boogie Woogie Etude. RCA Victor, 78. Salutation March. Circle, 78. Plus postage. Sample Order thru $1.50. Last Night on the Back Porch. Victor, 78. your dealers or direct Original Jelly Roll Blues. Hot Jazz Club, from us. 78. Strayline Dixieland Jazz Band One Step. Victor, 78. 1857- 1957 gives you * complete for protection yourmusic investment * 50%more filingcapacity * all-steel, double-wall construction * removable, smooth-sliding trays Pat.Pend. * ease of like nothing ictiacatio n identification There's music - NORREN for filing octavo * choiceof Ham- band, orchestraor soloist! mertone grey, Writefor catalog today greenor brown DEALER INVITED INQUIRIES NORRENMFG.CO. The Norren Lineof Files 2220 E. FoothillBlvd., Pasadena8, California 1 MU Long lasting, permanently Translucent MasterMusic Duplicating Paper. Makes unlimited number of clear reproductions. Takes pencil or ink and resists repeated erasures. l J White, strong bodied Music Writing Paper. Withstands repeated erasures. Available in all styles of rulings, sheets, pads or books. send o 1 I ] catalogo Send 25c for complete Sample Kit of Musicrite and Transrite. LAKE SPECIALTY COMPANY 5200 ? WEST 130th ST., CLEVELAND 30, OHIO I NEXT CONVENTION MENC Los March 1958 Angeles, 19-25, FOR SCHOOL AND CHURCH CHORALGROUPS Catalog on request _2_ _i-n Page 45 Products Co. Dept. "B" Ardsley, Box 117, N.Y. -EDMUND SOUCHON, president New Orleans Jazz Society. June-July, Nineteen Fifty-seven

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