Dixieland

Fortnight ago in the Old Absinthe House in New Orleans two oldtime jazzists, one with a trumpet, the other with a clarinet, stepped into the spotlight, played with such authentic abandon, such valid virtuosity that the customers sat owl-eyed, raised a din with their applause when the pair had finished. Well they might. The trumpeter was Nick La Rocca. The clarinetist was Larry Shields. As members of the Original Dixieland Jazz

Band, it is generally agreed that 20 years ago they originated the syncopated style of music now known as "swing." La Rocca has been running a grocery store, Shields painting houses. Last week the secret was out. At the Old Absinthe House. La Rocca and Shields were just getting "lipped up." With "swing" more popular than ever before, the old Dixieland Band was about to reorganize, set out on the road again.

Of the five original Dixielanders, not one could read or write a note of music. They were New Orleans boys who improvised their own tunes, played at picnics and prizefights for what purses they could get. The bigger the purse, the more eccentric their variations. Shields would take a phrase, play all around it on his clarinet. La Rocca would pick it up for a few "licks," pass it on to Eddie Edwards' trombone. Henry Ragas' piano set the tempo. Tony Sbarbaro's drums rattled a furious counterpoint. Other New Orleans bands had similar technique but none developed it so highly as the Dixieland, whose members rehearsed so often together that each player could almost mind-read the others' musical intentions. In 1916 they were offered $125 a week to play in a Chicago cafe. In the history of the nation's native music, this engagement marks the date when real jazz went North.

From Chicago the Dixieland went to Manhattan where earnings reached $1,500 per week, to London where that fee was more than doubled. At first, many found the Dixieland's music disconcerting. The players wore freak hats, jigged all over the platform, had a stuffed monkey set up in front of the drums with electric lights for eyes and a baton that waved automatically. Popular tunes when the Dixieland first went North were Pretty Baby, They're Wearing 'em Higher in Hawaii, Oh How She Could Yacki Hacki Wicki Wacki Woo. Soon the metropolis was cavorting to the Dixieland's own tunes, which have since become jazz classics: Tiger Rag by La Rocca, Clarinet Marmalade by Shields and Ragas, Sensation Rag by Edwards, At the Jazz Band Ball by La Rocca and Shields.

In 1925 the Dixieland disbanded. It was no longer a novelty. "Sweet" jazz, heavily orchestrated, was in vogue. And La Rocca, particularly, wanted to retire, go back to New Orleans. Hot jazz cultists who have learned to treasure the Dixieland's out of print phonograph records as classics and museum pieces never believed they might actually hear them together again. With the exception of Ragas who died when the troupe was in its heyday, the personnel of the historic little combination will be the same, although a few extra players may be added. Russell Robinson, Ragas' successor, who composed Margie and Palesteena, will again be the pianist, after four years on the Horn & Hardart (Automat) broadcast. Edwards and Sbarbaro, who have had spasmodic club jobs in Manhattan, are glad to get in regular harness again. Plan is to tour this summer, probably through New England and Pennsylvania. Observed canny Drummer Sbarbaro last week: "With all the old soldiers getting their bonuses there ought to be big money on the road right now."

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