Word: jazzed
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Dates: during 1940-1949
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Never had Manhattan's tawdry 52nd Street, "Swing Alley," been so loud with such brassy bad taste. Eager visitors to the former Main Line of American jazz stood uncertainly before the cellar joints housed in lugubrious brownstones, read the screaming poster promises of the "terrific" stuff inside, but usually hurried on when they heard the noise coming out the door. There were a few familiar names-"Hot Lips" Page, Maxine Sullivan, Georg Brunis-but few fresh performances. The street was full of has-beens and never-wases. It took a tin-eared hepcat to stand it. But last week...
...months before, an eager young jazz enthusiast named Michael Levin, editor of Down Beat, had dropped in at Sandy's, a bar-&-grill joint in Paterson, N.J. He found the barflies listening to the Mooney group in reverent silence, saw Proprietor Sandy shoo out paying customers who dared talk above the music. Levin listened for six hours, went completely overboard, and started a one-man Mooney campaign. He coaxed musicians, bandleaders and managers into making the trip to Paterson to hear "the most exciting musical unit in the U.S. today," devoted nine columns to Mooney in Down Beat, started...
...Jazz without Labels. For short, smiling Joe Mooney, 35, it was a sweet triumph. He had played piano in a dozen forgotten bands, arranged music for Fats Waller, Jane Froman, Jack Teagarden, Paul Whiteman. In 1935, he bet someone that an accordion could be made to swing, learned to play the thing and became accordionist in Whiteman's band. Then in 1943 an auto accident put him in a cast for 18 months, left him with a permanent limp. Last March he rounded up Clarinetist Andy Fitzgerald, Guitarist Jack Hotop and Bass Player Gate Frega, sold them...
...same auditorium 19 years ago Dr. Koussevitzky had led the first performance of Brooklyn-born Aaron Copland's raucous Jazz Concerto. On that evening Bostonians had hissed; some had laughed out loud; some had accused Dr. Koussevitzky of insulting them.* In those days, Aaron Copland was the kind of cacophonous enfant terrible in the U.S. that Igor Stravinsky had once been in Paris. If audiences were no longer disturbed by these terrible children, it was for different reasons. Igor Stravinsky had waited for the public ear to become attuned to his jazzy dissonances. Aaron Copland had modified his harmonies...
...Jolson Story. A big, noisy, colorful entertainment, with sound track by the Jazz Singer himself (TIME...