DIXIELAND CONTRASTS

The study of contrasts is a pastime that has many fascinations, but in the field of music, and particularly in the field of jazz, those contrasts highlight the influences that shape and change the musical habits of a nation. The environment of New Orleans that gave birth to America's only contribution to music, Jazz, was a place of many contrasts. The wealthy seeking entertainment and the negro seeking a means of expression found a natural meeting in the clubs of fabled Storyville; and out of those sordid houses came the music that just a few short years later moved up river to Chicago and then New York. The musicians who went north, such as Ory and Oliver, for the most part stuck to the traditional New Orleans Jazz; the closely woven ensemble, and the counterpoint of the clarinet. But in the years that fol lowed, they moved away from this style to evolve a style of their own. This style was a product of the new environment. The south side of Chicago in the 20's was a place where a musician could play as he wanted to and with a host of other fine men only too ready to accompany him into new fields of sound. The 20's and 30's passed by and Dixieland Jazz. passed on only to be remembered by the few recordings left behind by those early greats. The great bands, such as Ben Pollack, played swing. Louis Armstrong sang the current hits and many people mourned the death of the rea I Jazz. The music was not dead. Here and there small combos still played two beat; and in places like New York and Los Angeles, and San Fr:ancisco, a few bands were working. They were bombarded on every side by swing and a little later Bop. TW-0 things began to happen. Different instrumentation was used - a Sax was added and other tunes were played. Muskrat Ramble and Panama were replaced in the repertoire of the bands by tunes like Lover and Tea For Two. New stars arose, Jack and Charlie Teagarden, Jess Stacy, Ray Bauduc, and Pud Brown, all masters of their instrument, and each eager to. have their say. The Delta King'·s side of this recording featuring the above personnel is a product of this west coast school. Tunes such as Jersey Bounce, Charmaine, Pretty Baby, and Lovin' To Be Done, take on new meaning. The great trombone work by Teagarden as well as the fine saxophone of Pud Brown, replacing the usuaf clarinet make for a new approach to Dixieland. While men such as the Delta Kings piayed wide open, no stops jazz, another approach was being tried. Rose McHargue, long a popular west coast figure, was playing an entirely different Jazz. Possibly it could be com- pared to the symphonic jazz of Kenton. The selection, Night Wind, could become part of a beautiful symphony for full orchestra, but, at the same time keeping in tune with the heritage of Dixie the band can and does cut some wi Id capers with the delightful tunes, Do.n't Send Me Posies; and the tongue in cheek rendition of, Mysterious Rag, and Stop Kickin My Dawg Around. No matter what your taste in music may be, the tunes on this recording are made for listening. The qualities in each blend together to form a pleasant and enjoyable study in Dixieland Contrast.

L. M. G.

Cover Design By Henry Chew