Jazz: From the Congo to the Metropolitan by Robert Goffin

By Robert Goffin

Translated by way of Walter Schaap and Leonard G. Feather

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An absolute judgment is impossible; is it possible to we can attempt only a relative verdict. mortals are inclined to overembellish the past and endow the great names of yore with more glory than they perhaps deserve. I think it pretty certain that the playing of Buddy Bolden at best We and his contemporaries was but a confused, albeit moving, stammering next to that of men like King Oliver, Bix Beiderbecke, and Louis Armstrong. I have, moreover, a certain point of comparison which enables me to make such a statement vdth some authority.

Their children ^Herbert Asbury, The French made Quarter, pp. 252-53. better use of theic JAZZ i8 liberty. Young Negroes plantation and tried to escape the strenuous labor of port, attempting to make out of their love for music a supplementary profession at least. Soon the Negroes began to imitate the musical ceremonies of the whites. At picnics, balls, and burials, music was a necessity. Slowly but surely a hybrid form of music— without rules and without limits— was developed. To understand this phenomenon, we must try to recapture its atmosphere.

First four 2. Chase by couples to right between side four in a star Join right hands, circle in a star 4. Circle back with left hands 5. First four chase to the left to center. 3. At the time there was a considerable number of tunes which had been imported from France and other countries, notably Sheldon's Polka Quadrille, the Presidential Polka, the Lancers, the Prairie Queen, the French, and the Cake-Walk Quadrilles, JAZZ 32 There are some who assert that ragtime began at St. Louis and then worked its way down to New Orleans via the Mississippi River boats before 1890.

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