Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and

low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the

best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz

Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

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Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if

the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the

best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.

For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and

low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the

best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz

Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

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Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

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Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions

Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.

Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way

it was shamelessly commercial in its very intent, how downbeat and

metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.

Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms

Leonard Feather (Of Metronome magazine, a proponent of bebop and

progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral

Genres and brand names: The swing revivalists disagreed on intricacies,

but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial

Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution

Bebop advocates saw it as an advancement of jazz, progress of a kind and

saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it

Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)

The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)

Nothing more sabotaged the african-american tradition of simultaneous

improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market

In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

Discuss the war between Dixieland (old fashioned) jazz and the modernist
bebop revolution
Bebop advocates saw it as an advancement of jazz, progress of a kind and
saw big band, Dixieland and swing as being antiquated, too easy to access,
faddist and commercial
Supports of Dixieland, swing and big band accused the bebop movement of
being pretentious, impossible to access, for a privileged elite and not being
real jazz
Cannot separate the issues of race, gender politics and commerce from the
story of the development of jazz, as they are integral
Genres and brand names: The swing revivalists disagreed on intricacies,
but agreed broadly that a specific piece of music could not be called jazz if
the musicians involved were not improvising, and whose separate parts were
drawn at least in part from African-American rhythms
Leonard Feather (Of Metronome magazine, a proponent of bebop and
progression) said that swing is just another word for jazz, that it is not a
different music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become

Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it
completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

Notes on the Mouldy figs essay:

) said that swing is just another word for jazz, that it is not a different
music from jazz.
For revivalists, swing was used to denote a very easy to see species of
popular music, whereas the modernists sought to use it as a brand name.
Art and commerce: The revivalists hated the success of swing bands, the
fact that they dominated the charts more than any other genre, and the way
it was shamelessly commercial in its very intent, how downbeat and
metronome contributed to this phenomenon, metronome asserted the
best in jazz has been and always will be successful, commercial.
Folk culture and European culture: The revivalists were quite proud to
admit that the music of Louis Armstrong and Jelly Roll Morton was Vulgar and
low art they sought to distinguish themselves from swing as being high
culture, with its symphonic prentensions
Revivalists started to identify themselves and their music with folk music in
an effort to be separate from swing
This allowed them to define jazz as being folk music of the negro which,
thorugh the process of commercialisation, had become
Even 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 market
In this way, they sought now to criticise swing as not being too commercial,
but as being too european, too much a dilution of the traditional
framework of jazz (Moldy figs)
Nothing more sabotaged the african-american tradition of simultaneous
improvisation like the European artefact of written arrangements (Bernard
Gendon)
The highest cultures of West Africans didnt commit their improvisatory works
to paper not for lack of intelligence, but from an intellectual desire to keep it

completely free from restraint, believing that to commit the jazz idiom to
the rigidity of written language would vitiate rather than preserve it
Progress and the new: To the modernist, jazz was on the up and up,
constantly changing

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