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46 jazz
poetic clarinet of Dodds, and for Dutrey's masterly
handling of the trombone line.
The public's enthusiasm for the Oliver-Armstrong combination was such that the management of the Lincoln Gardens no longer catered for dancers only. A section of the accommodation had to be reserved for listeners. This habit persisted—and at any jazz function nowadays you will find space for the listeners as well as for the dancers. From these beginnings grew functions like the magnificent Royal Festival Hall jazz concerts organised by the National Jazz Federation,
This growing popularity of jazz, the interest in it shown by Hollywood foreshadow the next part of our story. Jazz was big news: on the one hand, promoters were bound to commercialise these popular sounds and rhythms and add to them endless varieties of new tricks designed to tickle the jaded palate of the mass public. On the other hand, inquiring musicians were bound to give some thought to widening the scope of jazz composition. So it is fitting, in our next chapter, to discuss the problem of the original improvised jazz versus the printed musical score—"the dots".
Recordings
(additional to those mentioned in Appendix "B"): Oliver's Creole Jazz Band: Dippermouth BluesjCanal
Street Blues. Brunswick 02200 Johnny Dodds/Jimmie Noone. Vogue LRA 10018 Clarence Williams Orchestra. Columbia SEG 7545. |
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