in idiom—rhythmic, musical and pantomimic—thoroughly
American Negro; it is his spiritual picture on that lighter
comedy side, just as the spirituals are the picture on the tragedy
side. The two are poles apart, but the former is by no means
to be despised and it is just as characteristically the product of
the peculiar and unique experience of the Negro in this country.
The African Negro hasn't it, and the Caucasian never could
have invented it. Once achieved, it is common property, and
jazz has absorbed the national spirit, that tremendous spirit of
go, the nervousness, lack of conventionality and boisterous
good-nature characteristic of the American, white or black, as
compared with the more rigid formal natures of the Englishman or German.
But there still remains something elusive about jazz that few, if any of the white artists, have been able to capture. The Negro is admittedly its best expositor. That elusive something, for lack of a better name, I'll call Negro rhythm. The average Negro, particularly of the lower classes, puts rhythm into whatever he does, whether it be shining shoes or carrying a basket on the head to market as the Jamaican women do. Some years ago while wandering in Cincinnati I happened upon a Negro revival meeting at its height. The majority present were women, a goodly few of whom were white. Under the influence of the "spirit” the sisters would come forward and strut—much of jazz enters where it would be least expected. The Negro women had the perfect jazz abandon, while the white ones moved lamely and woodenly. This same lack of spontaneity is evident to a degree in the cultivated and inhibited Negro.
In its playing technique, jazz is similarly original and spontaneous. The performance of the Negro musicians is much imitated, but seldom equalled. Lieutenant Europe, leader of the famous band of the “Fifteenth New York Regiment," said that the bandmaster of the Garde Republicaine, amazed at his jazz effects, could not believe without demonstration that his band had not used special instruments. Jazz has a virtuoso technique all its own: its best performers, singers and players, lift it far above the level of mere "trick" or mechanical effects.
