Tag Archives: early jazz

Jazz: The Marvelous Syncopation of the African Jungle Reproduced!?

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The questions surrounding the origins of jazz, including what jazz is, where jazz came from and who performs jazz, abound. Numerous articles, books, and dissertations have these or similar titles in reference to jazz. Why? What is the reason? The true origins of jazz have been up for debate for quite some time. Scholars have extensively researched this issue, due in part to its wide and deep lineage of African and African American culture, as well as possessing strong roots in ragtime and blues. 

During my end of semester research on  “Early Jazz” and the pioneers of the jazz genre, I stumbled upon a newspaper article entitled, “The Origins of Jazz” written in 1921 by Madge R. Cayton. The article was published under “Cayton’s Monthly”, a column in the Seattle Republican newspaper. Madge’s father, Horace Roscoe Cayton Sr., was an American journalist and political activist who launched the Seattle Republican. As the biracial son of a slave and a white plantation owner’s daughter, Horace Cayton created the newspaper with the intention of appealing to black and white readers alike. Below is Madge R. Cayton’s “The Origins of Jazz” article. The article obnoxiously reflects the beliefs of the average white reader of this time period rather than those of the average black reader. 

In her article, Cayton briefly explores the origins of the word “jazz” as well as the two specific types of jazz: the “Siamese jazz” which originated in China, and the “Oriental jazz” originating in Africa. Right from the outset, Cayton displays a narrow-minded view of the research on the origins of this “street rhythm” and a lackluster degree of understanding of the topic. Cayton focuses on the African “Oriental jazz” music, outlining her racist and discriminatory remarks. Throughout the article Cayton repeatedly conveys her distaste for jazz music and its glamorization of the African jungle, stating, “It is an attempt to reproduce the marvelous syncopation of the African Jungle. It is the result of the savage musician’s wonderful gift of progressive retarding and acceleration which is guided by his sense of ewing.”  The use of the word “savage” in describing the musicians is an immediate indicator of Cayton’s racist tone and underlying belief in white supremacy. The term “savages” has long been denounced as a racial stereotype for African Americans because of their basis in racially motivated scientific studies that found African Americans to be inferior to their white counterparts, making them closer to wild animals than to humans. Clayton continues her barrage of racialized and stereotyped comments on African Americans and their love for jazz music, pointing out a concern about the increasingly larger and more notable venues available to this performance tradition, “Jazz has reigned supreme for some years and most likely, will reign for many more for it has invaded our dance halls, theaters, and concert halls. Even our churches have not escaped without their share of tempestuous music. It has even snatched our very songs, classical and popular, and taken them for its own use, ragging them to death.”  This “invasion” Clayton suggests, should return its music to the “forest primeval” which is “more real and refined there than in a hall filled with dancers.” Clayton finishes expanding on the same belittling themes stating, “Because jazz is elemental bringing the savage to the surface, it is dangerous. We cannot afford in our present stage of civilization to accept the standard of the savage even if it is only through the giddy measure of a dance”. Based on Clayton’s writing, jazz puts civilization itself at stake.  

I can say with a high degree of confidence that Ms. Cayton’s article on the origin of jazz should be considered frivolous in nature, repugnant given it is rooted in Jim Crow thinking, and filled with racist ideas and a display of close-mindedness common among a large number of white folks in the U.S. in the early 1900’s. Additionally, some people of color, denied the opportunity to learn better, held similar views. For more scholarly research and accurate information into the origins of jazz, pursued by bright, open minded college students, please follow this link >>> (will put link to final project here when finished). 

Works Cited

“Cayton’s Monthly. [Volume] (Seattle, Wash.) 1921-1921, February 01, 1921, Page 10, Image 10.” News about Chronicling America RSS, H.R. Cayton, https://chroniclingamerica.loc.gov/lccn/sn87093354/1921-02-01/ed-1/seq-10/#date1=1836&index=7&rows=20&searchType=advanced&language=&sequence=0&words=jazz+Jazz&proxdistance=5&date2=1989&ortext=&proxtext=&phrasetext=jazz&andtext=&dateFilterType=yearRange&page=1. 

“Horace R. Cayton Sr..” Wikipedia, Wikimedia Foundation, 26 Nov. 2022, https://en.wikipedia.org/wiki/Horace_R._Cayton_Sr. 

“Negative Racial Stereotypes and Their Effect on Attitudes toward African-Americans.” Ferris State University, https://www.ferris.edu/HTMLS/news/jimcrow/links/essays/vcu.htm. 

Jazz: the evolution or debasement of spirituals?

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Jazz music emerged during the late 19th and early 20th centuries. Like early African-American music, there is an emphasis on call and response patterns or aspects. Moreover, jazz music’s lack of strict structure compared to western classical music gives the musicians freedom to develop and perform in their own distinct styles. This freedom of expression is seen by many as a way of evolving old Negro Spirituals into more contemporary forms of music. However, there are also many who see jazz music as a way of debasing the music and meanings of old spirituals. 

In a Chicago Defender article entitled “Spiritualistic Start: That’s What “Jazz Music” had, Says Rosamond Johnson”, the author quotes Johnson’s perspective that jazz music will never die because it is the evolution of plantation music. Johnson, an African-American composer and singer during the Harlem Renaissance, goes on to explain how slave songs evolved into spirituals through the societal changes that African-Americans went through. He goes on to explain how unrest took hold of African-Americans, leading to syncopation and multiple rhythms being played over each other in spirituals, which he claims is the same basic principle of jazz music. Johnson also mentions western classical music, stating that syncopation and the use of many rhythms has made the great symphonies what they are today. In comparison, Johnson claims that by following these basic principles, jazz music is aiding in the appreciation of old spirituals by evolving them into a more contemporary form of music. 

H.T. Burleigh had a contrasting opinion to Johnson in that jazz music actually debases spirituals. In a letter written to the public, Burleigh urges both races to preserve spirituals by stopping the progression of spirituals into jazz music. Burleigh claims that spirituals are the prized possession of the African-American race as they were created to demonstrate and perpetuate the struggles and emotions that African-Americans had during and after slavery. He goes even further to state that spirituals are the only legacy of slavery days that African-Americans can be proud of and that they are on the same level as great fold songs from around the world. By “perverting” the melodies and rhythms of spirituals into dance and popular songs, Burleigh says that it is destructive to the meanings of the original art forms, calling jazz music a misappropriation of spirituals. 


 

 

 

 

 

 

 

 

 

References:

“HARRY BURLEIGH BEWAILS MISUSE OF FOLK SONGS: SAYS JAZZ DEBASES THEM; DISLIKES SPIRITUALS USED AS FOX TROTS.” The Chicago Defender (National edition) (1921-1967), Nov 18, 1922, pp. 8. ProQuest, https://www.proquest.com/historical-newspapers/harry-burleigh-bewails-misuse-folk-songs/docview/491939656/se-2.

Thompson, Noah D. “SPIRITUALISTIC START: THAT’S WHAT “JAZZ MUSIC” HAD, SAYS ROSAMOND JOHNSON.” The Chicago Defender (National edition) (1921-1967), Jan 21, 1922, pp. 7. ProQuest, https://www.proquest.com/historical-newspapers/spiritualistic-start/docview/491909144/se-2.

A New Music Born in New Orleans

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New Orleans at the beginning of the 20th century was a hotbed of musical innovation. The rich oral traditions of African Americans and the upbeat, commercial dance music of the day collided in the city’s thriving nightlife, ultimately giving rise to a new style of dance music that melded the harmonic and formal idioms of the blues with the rhythmic vitality of ragtime.  This new music was called “jazz.”

The 1917 recording of the Original Dixieland Jazz Band playing Livery Stable Blues (linked below) clearly illustrates the blending of ragtime and blues styles that forms the basis for jazz music.  Each “stanza” basically follows a standard 12-bar blues progression: four bars of tonic harmony, two bars predominant paired with two bars of tonic, concluding with two bars of dominant harmony leading back to the tonic.  This harmonic scheme is paired with catchy melodic material that is reminiscent of popular song.  Clearly meant for dancing, Livery Stable Blues features the driving pulse and jaunty syncopations of ragtime.

http://ezproxy.stolaf.edu/login?url=https://search.alexanderstreet.com/view/work/be|recorded_cd|li_upc_888831096023

Another key element of jazz music is improvisation; it is likely that most of the music played by the Original Dixieland Jazz Band was improvised.  In his 1946 article entitled “This is Genuine Jazz,” Douglas S Enefer claims that “real jazz is composed by the executants – both individually and collectively – as they play . . . often the theme may be stated only once; thereafter the melodic line is implied rather than stated.”  This melodic treatment can be heard in Livery Stable Blues: melody lines are clearly stated in the clarinet and trombone at the very beginning, and are varied, embellished, and commented upon in subsequent verses.  Improvising variations in this way is an integral part of the jazz style.

Finally, jazz music is often associated with a spirit of free-spiritedness and abandon.  In Livery Stable Blues, the ODJB takes this freedom to an extreme degree, with rooster crows on the clarinet, horse whinnies on the trumpet, and cow moos on the trombone.  This musical evocation of a barnyard could be understood as a simple comedic gimmick, or could be interpreted as a critique of the extreme formality and stuffiness of classical concert culture.  Either way, it is clear that light-heartedness and subversion are central tenets of the ODJB’s musical style and public image.

New Orleans may have been the birthplace of jazz, but the music quickly spread throughout the nation.  The ODJB itself played in many major cities, including Chicago and New York.  The new style took hold, and jazz continued to evolve and proliferate throughout the world.  Today jazz is studied, performed and enjoyed by a global audience.  

 

Sources

Charters, Samuel. Trumpet around the Corner: The Story of New Orleans Jazz. University Press of Mississippi, 2008. ProQuest Ebook Central, accessed 8 October 2017.

Crawford, Richard. America’s Musical Life: a History. 1st ed., New York, Norton, 2001.

Enefer, Douglas S. “This is Genuine Jazz.” The Negro, 1 Feb. 1946.

Livery Stable Blues. Rec. March 1917. Vintage Vinyl, 2014. Music Online: Jazz Music Library. Accessed 9 Oct. 2017.

Original Dixieland Jass Band

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http://www.loc.gov/jukebox/recordings/detail/id/4669

Originally from New Orleans, LA, the Original Dixieland Jass Band (ODJB) was recruited to Chicago in 1916 to perform at Schiller’s Cafe.  There was interest in bringing a New Orleans-style band to Chicago.  After a number of personnel changes, ODJB was booked to perform in New York City.  Starting in January 1917, ODJB took up residency providing upbeat dancing music at Reisenweber’s Restaurant in New York City.

At the time, the center of the music recording industry was New York City and New Jersey.  ODJB had earned their own following in New York and received invitations to record.  In the end of February, the band recorded with Victor Talking Machine Company and recorded two sides of a 78 record under the Victor name.  The song here, Dixie Jass Band One-Step, and Livery Stable Blues were the first songs released on this record.

Original Dixieland ‘Jass’ Band – Dixie Jass Band One-Step Victor 18255-A, February 26, 1917 Library of Congress National Jukebox

With the release of this record, ODJB gained immense popularity in America.  The members dubbed themselves “Creators of Jazz” having given the American people their first taste of jazz with their record release.  After a successful first release, the ODJB recorded more songs for a total of 25, 2-song records before the group’s disbandment in 1925.

Dixieland jazz is different than what we think of as “jazz” today.  It follows the 12-bar blues model, but instead of having a dominant soloist in the foreground, each of the five players play throughout.  It sounds as if each player is playing his own solo throughout the whole song.  It gives a different flavor of ensemble than we are used to in today’s instrumental music.

One of the primary uses for this music was dance.  The complexity of the music itself and each of the five instruments intertwining with each other parallels that of public dancing.  Everyone dances to the same beat, but each person on the dance floor is dancing his or her own way.  No one looks or sounds the same.  The same applies to Dixieland Jazz.

 

http://www.loc.gov/jukebox/recordings/detail/id/4669

John Chilton. “Original Dixieland Jazz Band.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 2, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J339300.