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Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind andsaw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30 Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et 9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

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Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernistbebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz ithe musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the wayit was shamelessly commercial in its ery intent" how downbeat and

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metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions 5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not adi/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms ,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud toadmit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

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low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become 8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" theact that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species opopular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music inan e/ort to be separate rom swing

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'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in partrom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30 Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music aspecifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat andmetronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"though papers" records and clubs" and thus was a commercial music a

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specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0 -or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions 5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar andlow art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

7/23/2019 sdfhgdf

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,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" theact that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species opopular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music inan e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

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-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12thebest in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the wayit was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become 8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" theact that they dominated the charts more than any other genre" and the way

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it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop andprogression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in partrom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

7/23/2019 sdfhgdf

10/631

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing 'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions 5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music a

specifc piece o music could not be called jazz i the musicians inoled

were not improising" and whose separate parts were drawn at least in part

rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not adi/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions

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7/23/2019 sdfhgdf

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8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs) Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not beingreal jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species opopular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

7/23/2019 sdfhgdf

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5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just asswing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind andsaw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms ,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

7/23/2019 sdfhgdf

14/631

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing 'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" theact that they dominated the charts more than any other genre" and the way

7/23/2019 sdfhgdf

15/631

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs) Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not beingreal jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

7/23/2019 sdfhgdf

16/631

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud toadmit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial %upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

7/23/2019 sdfhgdf

17/631

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" theact that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon) 'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

7/23/2019 sdfhgdf

18/631

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not adi/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditionalramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

7/23/2019 sdfhgdf

19/631

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become 8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep itcompletely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

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7/23/2019 sdfhgdf

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Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement obeing pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs) Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

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) said that swing is just another word or jazz" that it is not a di/erent

music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0 Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing 'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon) 'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

7/23/2019 sdfhgdf

23/631

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms ,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et 9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"addist and commercial

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%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become 8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep itcompletely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

7/23/2019 sdfhgdf

25/631

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz &annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music inan e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernardendon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

7/23/2019 sdfhgdf

26/631

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement obeing pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs) Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

7/23/2019 sdfhgdf

27/631

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop andprogression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar andlow art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

7/23/2019 sdfhgdf

28/631

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind andsaw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30 Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et 9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

7/23/2019 sdfhgdf

29/631

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernistbebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz ithe musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"

thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom tothe rigidity o written language would itiate rather than presere it

7/23/2019 sdfhgdf

30/631

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial

%upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom thestory o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not a

di/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" theact that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and

low art 7 they sought to distinguish themseles rom swing as being high

culture" with its symphonic prentensions

5eialists started to identiy themseles and their music with ol# music in

an e/ort to be separate rom swing

'his allowed them to defne jazz as being ol# music o the negro which"thorugh the process o commercialisation" had become

8en though it sought this status" it was spread through the culture industry"

though papers" records and clubs" and thus was a commercial music just as

swing was" though to a smaller mar#et

9n this way" they sought now to criticise swing as not being too commercial"

but as being too european" too much a dilution o the traditional

ramewor# o jazz (Moldy fgs)

Nothing more sabotaged the arican+american tradition o simultaneous

improisation li#e the 8uropean arteact o written arrangements (!ernard

endon)

7/23/2019 sdfhgdf

31/631

'he highest cultures o ;est *ricans didnt commit their improisatory wor#s

to paper not or lac# o intelligence" but rom an intellectual desire to #eep it

completely ree rom restraint" belieing that to commit the jazz idiom to

the rigidity o written language would itiate rather than presere it

Progress and the new:'o the modernist" jazz was on the up and up"

constantly changing

Notes on the Mouldy fgs essay:

Discuss the war between Dixieland (old ashioned) jazz and the modernist

bebop reolution

!ebop adocates saw it as an adancement o jazz" progress o a #ind and

saw big band" Dixieland and swing as being anti$uated" too easy to access"

addist and commercial %upports o Dixieland" swing and big band accused the bebop moement o

being pretentious" impossible to access" or a priileged elite and not being

real jazz

&annot separate the issues o race" gender politics and commerce rom the

story o the deelopment o jazz" as they are integral

Genres and brand names: 'he swing reialists disagreed on intricacies"

but agreed broadly that a specifc piece o music could not be called jazz i

the musicians inoled were not improising" and whose separate parts were

drawn at least in part rom *rican+*merican rhythms

,eonard -eather (. Metronome magazine" a proponent o bebop and

progression) said that swing is just another word or jazz" that it is not adi/erent music rom jazz0

-or reialists" swing was used to denote a ery easy to see species o

popular music" whereas the modernists sought to use it as a brand name0

Art and commerce:'he reialists hated the success o swing bands" the

act that they dominated the charts more than any other genre" and the way

it was shamelessly commercial in its ery intent" how downbeat and

metronome contributed to this phenomenon" metronome asserted 12the

best in jazz has been and always will be successul" commercial30

Folk culture and European culture:'he reialists were $uite proud to

admit that the music o ,ouis *rmstrong and 4elly 5ol