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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
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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
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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 $uite proud to
admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and
low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions
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8en though it sought this status" it was spread through the culture industry"
though papers" records and clubs" and thus was a commercial music just as
swing was" though to a smaller mar#et
9n this way" they sought now to criticise swing as not being too commercial"
but as being too european" too much a dilution o the traditional
ramewor# o jazz (Moldy fgs) Nothing more sabotaged the arican+american tradition o simultaneous
improisation li#e the 8uropean arteact o written arrangements (!ernard
endon)
'he highest cultures o ;est *ricans didnt commit their improisatory wor#s
to paper not or lac# o intelligence" but rom an intellectual desire to #eep it
completely ree rom restraint" belieing that to commit the jazz idiom to
the rigidity o written language would itiate rather than presere it
Progress and the new:'o the modernist" jazz was on the up and up"
constantly changing
Notes on the Mouldy fgs essay:
Discuss the war between Dixieland (old ashioned) jazz and the modernist
bebop reolution
!ebop adocates saw it as an adancement o jazz" progress o a #ind and
saw big band" Dixieland and swing as being anti$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 $uite proud to
admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and
low art 7 they sought to distinguish themseles rom swing as being high
culture" with its symphonic prentensions
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5eialists started to identiy themseles and their music with ol# music in
an e/ort to be separate rom swing
'his allowed them to defne jazz as being ol# music o the negro which"
thorugh the process o commercialisation" had become
8en though it sought this status" it was spread through the culture industry"
though papers" records and clubs" and thus was a commercial music just asswing was" though to a smaller mar#et
9n this way" they sought now to criticise swing as not being too commercial"
but as being too european" too much a dilution o the traditional
ramewor# o jazz (Moldy fgs)
Nothing more sabotaged the arican+american tradition o simultaneous
improisation li#e the 8uropean arteact o written arrangements (!ernard
endon)
'he highest cultures o ;est *ricans didnt commit their improisatory wor#s
to paper not or lac# o intelligence" but rom an intellectual desire to #eep it
completely ree rom restraint" belieing that to commit the jazz idiom to
the rigidity o written language would itiate rather than presere it
Progress and the new:'o the modernist" jazz was on the up and up"
constantly changing
Notes on the Mouldy fgs essay:
Discuss the war between Dixieland (old ashioned) jazz and the modernist
bebop reolution
!ebop adocates saw it as an adancement o jazz" progress o a #ind andsaw big band" Dixieland and swing as being anti$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
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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 $uite proud to
admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and
low art 7 they sought to distinguish themseles rom swing as being highculture" with its symphonic prentensions
5eialists started to identiy themseles and their music with ol# music in
an e/ort to be separate rom swing
'his allowed them to defne jazz as being ol# music o the negro which"
thorugh the process o commercialisation" had become
8en though it sought this status" it was spread through the culture industry"
though papers" records and clubs" and thus was a commercial music just as
swing was" though to a smaller mar#et
9n this way" they sought now to criticise swing as not being too commercial"
but as being too european" too much a dilution o the traditional
ramewor# o jazz (Moldy fgs) Nothing more sabotaged the arican+american tradition o simultaneous
improisation li#e the 8uropean arteact o written arrangements (!ernard
endon)
'he highest cultures o ;est *ricans didnt commit their improisatory wor#s
to paper not or lac# o intelligence" but rom an intellectual desire to #eep it
completely ree rom restraint" belieing that to commit the jazz idiom to
the rigidity o written language would itiate rather than presere it
Progress and the new:'o the modernist" jazz was on the up and up"
constantly changing
Notes on the Mouldy fgs essay:
Discuss the war between Dixieland (old ashioned) jazz and the modernist
bebop reolution
!ebop adocates saw it as an adancement o jazz" progress o a #ind and
saw big band" Dixieland and swing as being anti$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
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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 $uite proud to
admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and
low art 7 they sought to distinguish themseles rom swing as being high
culture" with its symphonic prentensions
5eialists started to identiy themseles and their music with ol# music in
an e/ort to be separate rom swing
'his allowed them to defne jazz as being ol# music o the negro which"
thorugh the process o commercialisation" had become
8en though it sought this status" it was spread through the culture industry"
though papers" records and clubs" and thus was a commercial music just as
swing was" though to a smaller mar#et
9n this way" they sought now to criticise swing as not being too commercial"
but as being too european" too much a dilution o the traditional
ramewor# o jazz (Moldy fgs)
Nothing more sabotaged the arican+american tradition o simultaneous
improisation li#e the 8uropean arteact o written arrangements (!ernard
endon) 'he highest cultures o ;est *ricans didnt commit their improisatory wor#s
to paper not or lac# o intelligence" but rom an intellectual desire to #eep it
completely ree rom restraint" belieing that to commit the jazz idiom to
the rigidity o written language would itiate rather than presere it
Progress and the new:'o the modernist" jazz was on the up and up"
constantly changing
Notes on the Mouldy fgs essay:
Discuss the war between Dixieland (old ashioned) jazz and the modernist
bebop reolution
!ebop adocates saw it as an adancement o jazz" progress o a #ind and
saw big band" Dixieland and swing as being anti$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
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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
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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 $uite proud to
admit that the music o ,ouis *rmstrong and 4elly 5oll Morton was 6ulgar and
low art 7 they sought to distinguish themseles rom swing as being high
culture" with its symphonic prentensions
5eialists started to identiy themseles and their music with ol# music in
an e/ort to be separate rom swing
'his allowed them to defne jazz as being ol# music o the negro which"
thorugh the process o commercialisation" had become 8en though it sought this status" it was spread through the culture industry"
though papers" records and clubs" and thus was a commercial music just as
swing was" though to a smaller mar#et
9n this way" they sought now to criticise swing as not being too commercial"
but as being too european" too much a dilution o the traditional
ramewor# o jazz (Moldy fgs)
Nothing more sabotaged the arican+american tradition o simultaneous
improisation li#e the 8uropean arteact o written arrangements (!ernard
endon)
'he highest cultures o ;est *ricans didnt commit their improisatory wor#s
to paper not or lac# o intelligence" but rom an intellectual desire to #eep itcompletely ree rom restraint" belieing that to commit the jazz idiom to
the rigidity o written language would itiate rather than presere it
Progress and the new:'o the modernist" jazz was on the up and up"
constantly changing
Notes on the Mouldy fgs essay:
Discuss the war between Dixieland (old ashioned) jazz and the modernist
bebop reolution
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Discuss the war between Dixieland (old ashioned) jazz and the modernist
bebop reolution
!ebop adocates saw it as an adancement o jazz" progress o a #ind and
saw big band" Dixieland and swing as being anti$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
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&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
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