| Show I Jazz Notes Kotes oes for or a Eta Reil en Only Only But Clas Gs s Tin Pa Pan Alley Alloy Just the Same Saine I Dy By Bv VIRGINIA SWAIN SWAI NEW YORK April 18 NEA NEA EA Tin Pan alley ahey might a as well take Its ita hot feet down from the table and begin to watch its its vocabulary It U is no longer longera onge a a purely stag organization Since the beginning it has been as male mile as moustache cups and football Ih In the glorious freedom of Its womanless domain it has strummed med and banged and smoked smoked its its' pipe and cussed exactly as It pl pleased ased But a along ng came camo Mabel Mabel-Mabel Mabel Mabel Wa Wayne j ne She laun launched hed In a LUtle Span Spart Ish Town listed as the biggest est hit among popular songs this year It was not the first successful song song she had hud written but ut t it wa was the song that crowned her queen atTin ot at otTin t Tin Pan alley I 1 ENTER FEMINISM From tho advent of Mabel Wayne jazz writing was no longer a a. strictly masculine prerogative as s it had undoubtedly been Many f women had tried their hand nand at It of ot course but the rhythm the elusive f fascination of true Jazz al always always always al- al ways ways escaped them There had hadn n hOver ver before re been a a. a jazz hit written by a woman What for Mabels Mabel's success success success success' suc suc- cess cess cess' Years of touring the country in vaudeville may be the theY answer answer her P s and MabelIs Mabel lab l. l Is Inclined to agree with him Jazz Is the most unrestrained kind of music the music most in inimical inimical inimical in- in to suppression or conventionality conventionality conventionality conven conven- of any ny kl kind d she says saya Most women composers starting out with an inferiority complex tried following the conventions of ot music writing l ladylike melodies and nd patterning after previous successes I lived JIved the hard life me of ot a a. variety trouper hitting every big big- town Inthe in inthe inthe the country appearing before all kinds of audiences in all kinds of ot theatres from the very cheap to the very best belt I did a piano monologue which is a hard job for a woman It means mean carrying the whole whore burden of the act on your own Bho shoulders or ot rather rath rath- I er on your jour our own finger linger tips 1 wrote my own sketches im improvised my own music learned just what cords and word word would bring a giggle or a t tear fear ar rpm the people ou out frontI front I learned th the folkways o of ot east west vest and south and arid the moods of every race race represented In America T TREATMENT NOT MUSIC Naturally Natura lY when I started t to write jazz I had a. a stor store of knowledge knowledge knowledge knowl knowl- edge to work from f I Jazz is merely a treatment nota not a distinct kind of music As everyone everyone everyone every every- one knows some of ot th the th biggest jazz hits have been only syncopated versions versions versions ver ver- of the old masters Russian French Spanish JewIsh Jewish Jewish Jew Jew- ish melodies lend themselves to jazz treatments equally well ve But But though E Europeans enjoy jazz only Americans can write or play ItI itI it I think that is because jazz Is made up tp of three p parts 0 two of ot which c can ri only be found in An America First comes domes the melody which may maybe maybe be of any nationality But to that must be added American negro rhythm plus plo's the s spirit of New York Practically all of the su successful c jaza in comes out Of at a lit littie little little lit lit- tle tie area around seventh Forty-seventh street and Broadway Copyright 1927 NEA Service Inc |
