RHYTHMTHE NEW VOGUE

Dominion, Volume 29, Issue 256, 25 July 1936, Page 23

RHYTHM—THE NEW VOGUE

By

Swing Bass.

.'lnd If’/iy Not Jazz? Jazz, has always hail to suffer such slatings from the highbrow intole'rants for any misdeeds it has committed that, fearing as much for their own prestige as for the good reputation of their music, the majority of its adherents have until recently been scared even to wink at, let alone encourage, anything which stresses its primitive side to the exclusion of what may tie termed its more sophisticated asjiects. Perhaps there is something to be said for this state of affairs. Jazz can boast of no inherent restraint. Slacken the rein, and its romps soon run off the path of innocent mischief to the road of dangerous horseplay. Yet when jazz is in its bolter moods its primitiveuess can be most attractive. Jazz in the raw has the power Io create an atmosphere which is exhilarating. Swing Music Concert. Without question, the biggest event, of recent weeks lias been the “swing” concert presented at the Imperial Theatre, New York, under the auspices of the famous Onyx Club, states the “Melody Maker. 1 ’ The house was packed, and virtually all the artists who promised to show up did so. and, all in all, the show was an unqualified success. Each group of soloists played two numbers, and. from the opening strains of “Bugle Call Rag,” by the Casa"Loma Orchestra, to “Tiger Rag” by Louis Armstrong, the audience apparently en. joyed itself. ' Outside of Louis Armstrong and Stuff Smith, the Casa Loma band evoked more applause from the audience than any other group did. Louis Armstrong and Stuff Smith were frankly exliibitionistie, and the fact that the crowd greeted this type of music in such approving fashion should make it clear just. what, type of person made up the larger part of the audience.

However, a number of very interesting items also were presented for those with a little more discriminating taste.

For example, Dick McDonough and Carl Kress played guitar duet arrangements of “Heat Wave” and “Stage Fright.”

Swing Bas's Suggests . . “.Moonrise on the Lowlands” (by Al Neiburg and Jerry Levison). —This is the pick of the selections this week. There’s nothing startling about it, but there's a smooth swing that’s bound to attract: the pianist. In fact, it will probably sound better as a piano solo than as an orchestral number. Sweet and flowing, it should be played slowly and softly, but with a steady rhythm. The theme is of negro origin, and the negro interpretation is almost conveyed by the sheet music. The middle phase particularly is hot rhythm, and it should be carefully emphasised. There is a good opportunity here for the pianist to think up a hot break, and the scope is limitless. Altogether, it makes a first-class piano solo. A good deal ot improvisation is needed, but this should be jam to the average player.

“One Rainy Afternoon” (by Stern, Tobias and Erwin). —Another good number for a bright piano solo. The directions say it should be played “not fast,” but “Swing Bass” found it sounded just as good at a quick tempo. Whether it should be fast or moderate is really a matter for personal taste. However that, may be, the tune itself is catchy, and with a little thought it can be worked up into a snappy solo.

“Secret Rendezvous” (by Stern, Tobias and Erwin). —It’s a waltz, and a very tuneful one at that. While there is nothing to lift it from the ordinary ruck, the melody is decidedly refreshing, and the arrangement quite good. The words don’t, matter; concentrate on Hie music.

“Say I Wasn’t Dreaming” (by June Trevor and Harold Ramsay).—-Well, you may like this, or you may not. Actually there is nothing to it, but with improvisation on the right lines it can be made into a tuneful solo. The sheet music arrangement is poor, so it al] depends on you.