The Jazz Scene Today by Buddy DeFranco — 7/1/1953 An Exclusive Online Extra (Editor’s Note: This essay by clarinetist Buddy DeFranco is part of a series of articles that will appear in DownBeat, written by many of the leading jazzmen of all idioms.) For a long time now, I have watched the music business degenerate into a most unhealthy, evil device for making a fast buck. And for a long time I have watched self-appointed critics dismember, deride, and viciously block any new developments which they do not understand. I have watched bands slowly change from well-organized, enthusiastic groups of men to factories of sounds—any sounds which you may fancy. Their Rx—throw in a little Glenn Miller with some noisy brass and a few bars of slurping saxophones, a stale version of Lionel Hampton’s rhythm, an out-of-tune singer and, oh yes, a little of Harry James’ style trumpet or Tommy Dorsey’s trombone and presto! A hit record. Need Real Musicians Let’s bring back the days when the guy in front of the band was first a musician whose style and ideas were his, were original—a leader of men who earned respect because of his knowledge and his ability to handle men. Those leaders were young and ambitious, with new, creative ideas. Did you ever hear Count Basie imitate Louis Armstrong’s band? Did you ever hear Benny Goodman throw in eight bars of Ted Lewis’ style and part of an old Paul Whiteman arrangement with a touch of Boyd Senter’s clarinet? If he did, it was a gag which always got a laugh from the audience. Do that today and people buy it! Did you ever hear Miller say, “Let’s bring back the old days?” Time For A Change Those guys were progressive musicians who had the courage of their convictions. Why is it so difficult to understand that they have already made their contribution? It is time for a new, healthy element to take over and continue from where the greats of the business left off. It cannot be done by the few who are doing their best to present good music under adverse conditions. I refer to the great Woody Herman bands, the ingenious Saunter-Finegan combination, and modern singers like Billy Eckstine, who has used his box office appeal to present progressive units. So have Nat Cole, Sarah Vaughan, and Ella Fitzgerald. But the job must be done by everyone in music. It’s time for the disc jockey to spend a little time sharpening his ears before spouting off about what record is good or bad. It’s time for booking agents and managers to stop trying for “the good old days” by sending out grandfathers to attempt a fast cleanup tour. It’s time for most music critics to find out what tunes were played on a program, lest they review a number that wasn’t played at all. First, Learn to Play It’s time for young musicians to learn how to play their instruments correctly before getting “hot” (or is it “cool”?). And it’s time for them to think about the future of their business—to realize that no matter how idealistic they want to be, the general idea behind any music is public acceptance. All performers must have public acceptance in order to tell their story. And it’s time for young musicians to stop supporting dope pushers and to begin supporting good teachers. Let’s not be hypocrites about this—whether you like it or not, there is a disgraceful number of addicts inside and out of the music business. All these sick kids with weak minds and spines of jelly who must “get out of this cruel, terrible world” must come to their senses. They must learn to accept the responsibilities of being performers in public or else give music up. All Kinds of Music Young musicians must learn that people all over the world like all kinds of music—that the kind of music they play isn’t the pivot-point of the music world. There is room for all kinds of music, providing this music is played with some degree of honesty and played well. Let’s all stop categorizing once and for all—I mean by using such terms as “be-bop” or “square.” What is a square? You tell me! I’ve met some people who don’t know one note from another who are intelligent persons with a greater knowledge of living and who have a better understanding of progress than most of our hippest musicians. What is Bop? And what is “be-bop?” Again, you tell me. I hear flatted fifths and accented eighth notes in some of our most “commercial” bands. Is this be-bop, or is it some guys falling asleep at sessions? People have come to me with friendly, well-meaning advice about my music. I like to think we incorporate the latest developments into modern music, but we also play the melody. I can refer you to many of our records where the melody is clearly discernible. I can also refer you to many of our records that are not fast, not confusing, not complex, and, might I add, not hard to listen to. So, again, you tell me—what is my kind of music? What can be so confusing about Charlie Parker with strings, or his “I Can’t Get Started”? Can it be just a biased attitude which has held back all development at one time or another? Stick to Your Last I have spent a great many years learning to play the clarinet. I am still learning. I don’t dance, do slapstick, or tell funny stories. I am also not qualified to tell a surgeon how to make an incision. Neither is an engineer qualified to tell Tommy Dorsey how to play trombone. We all have opinions about everything, but let’s leave it at that and be a little thoughtful about maliciously branding or condemning anyone for anything. It’s time for us to begin thinking ahead, to try and salvage what is left of creative, honest endeavor in popular music—to clear the atmosphere and get together for the benefit and development of the true American art form. DB
Posted on: Mon, 29 Jul 2013 23:46:02 +0000
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