| | the best sense of the word, and enter more and more into the daily lives of people. ... The Negro musicians of America are playing a great part in this change. They have an open mind, and unbiassed outlook. They are not hampered by conventions or traditions, and with their new ideas, their constant experiment, they are causing new blood to flow in the veins of music. The jazz players make their instruments do entirely new things, things finished musicians are taught to avoid. They are pathfinders into new realms." |
And thus it has come about that serious modernist music and musicians, most notably and avowedly in the work of the French modernists Auric, Satie and Darius Milhaud, have become the confessed debtors of American Negro jazz. With the same nonchalance and impudence with which it left the levee and the dive to stride like an upstart conqueror, almost overnight, into the grand salon, jazz now begins its conquest of musical Parnassus.
Whatever the ultimate result of the attempt to raise jazz from the mob-level upon which it originated, its true home is still its original cradle, the none too respectable cabaret. And here we have the seamy side to the story. Here we have some of the charm of Bohemia, but much more of the demoralization of vice. Its rash spirit is in Grey's popular song, Runnin' Wild:
Runnin' wild; lost control
Runnin' wild; mighty bold,
Feelin' gay and reckless too
Carefree all the time; never blue
Always goin' I don't know where
Always showin' that I don't care
Don' love nobody, it ain't worth while
All alone; runnin' wild.
Jazz reached the height of its vogue at a time when minds were reacting from the horrors and strain of war. Humanity welcomed it because in its fresh joyousness men found a tem-
