Word: olson
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...Olson, he of George Olson and His Music, speaks more truth than he imagines when he says that "university courses should be lengthened to eight years for the increasing number of students who want to matriculate in jazz". With no satirical intention he has bequeathed his innocent journalistic palaver with an ironic note. His plea is for more vital trombonists: but he incidentally lays bare the anatomy of jazz...
...avers, seven years of honest toil and study were required before he mastered the art of swinging the drum major's baton then Mr. Olson is justified in demanding eight for the greater complexities of the saxaphone and the other apparatus which compose modern music. But just where in this welter of the arts is there room for what is quaintly termed a liberal education? Neither Mr. Olson nor Mr. Whiteman would tolerate illiterate and uninformed artists in his troupe. And if eight years are necessary for the technical perfection desired in a jazz band, then at least...
...Olson notes, jazz calls for more than a dilatory attention. There is the foundation to be laid--apparently eight long years--and then there is the super-structure which makes the building so attractive. The completed product is the triumph of instinct over intelligence. But a twelve year course, even with a maestra's baton in view, is rather long and arduous. Aborigines accomplished similar ends with much less difficulty...
Eight jazz Jupiters-Paul Whiteman, Vincent Lopez, Ben Bernie, George Olson, Roger Wolff Kahn, Fred Rich, B. A. Rolfé, Ernie Golden, assembled in Manhattan last week, prepared to purify their business. They organized the National Association of Orchestra Leaders and named Julian T. Abeles arbiter of jazz at a salary of $25,000 a year. It will be his duty to stop the cut-throat competition among orchestras for famed musicians, phonograph contracts, bookings. Said Mr. Abeles: "There is not going to be any more poaching or tampering with saxophonists and other artists. In adopting this policy...
...have no Beatrice Lillie and they have evidently fooled around at their rehearsals. They are not unlike high school celebrities giving a self-directed benefit, where the footlights falter and every one's pet smart cracks must be respected by all. Music by Gitz Rice, twitching by Irene Olson, genuinely ingenious gyrations by Nat Nazzaro Jr., have some merit. The chastely clad chorus is one of the prettiest units in town...