But, this book is sacrilege nowadays**. Why, the gall! Doesn't the author know that since the 1960s it has not been very HIP to even imply that white musicians had any real impact on jazz? Sure, you had Bill Evans...err... (But have you read up on the trouble he had as a white musician playing in Miles' band? So bad he had to leave. Black audiences were saying: "why the whitey on piano?")
Because, if you haven't noticed, in 'legit' jazz history, the line is all about how jazz is only black music - end of story. So if you try pushing this book as a college lecturer, or even on a street corner, I'd say you'd stand a good chance of being lynched, the modern way. But...
Well, if you haven't noticed, there's a psychological war against white men going on at the moment, and a corresponding desecration and diminution of everything good Western civilization has achieved, the best of our accomplishments, throwing it all away. The war is against women as well, but contrary to their cries of patriarchy, we seem instead to be turning into a matriarchy where feelings outweigh facts, and good music cannot be discerned because everyone's an idiot now who knows nothing, about music and especially about jazz. As if it's some strange thing. But the strangest thing of all is that it's never been easier to hear great jazz, anything you want, on YouTube and at any second of the day. A Music Library at one's fingertips! But even 20-year old jazz musicians haven't heard the classics...they start with Coltrane and work backwards, if they go backwards at all.
It's simple! The dumber the people are, the easier they are to control. If their history is limited to about 20 years, that's great for the oligarchy. If the average person, man or woman, black or white, doesn't even get a chance to investigate the most basic things because they are so overworked, so much the better for the slaveowners. They want us all to be compliant sheep, with the full set of blinkers on.
What's worse, even more than admitting white men did anything worthwhile in [his]tory (haha) of jazz, is the idea - outrageous in its audacity - that for a short time in the 1920s to the 1950s black and white people came together through a shared language, even a shared way of life that crossed the gulf separating their two sides of American life: and created some fantastic music which will live forever.. This is the shining light of jazz, the power of pure music to bring a universal spirit of love and respect, which I'm afraid has to be stamped out today by our Controllers, "for our own good", no doubt.
See, our rulers, the Oligarchs, hate unity. They love division, So they can't have blacks and whites mixing, let alone coming up with something that is greater than the individual. They want desperately to deny it ever happened, they're frantically back-pedalling, and making it so that you won't ever see this book placed anywhere prominent. They don't want you to know about the real situation between white and black jazz musicians, that you'll read about in this book; stories of the golden period where music was color-blind, for a few, short years.
They don't want you to know that some of the greatest tracks ever recorded were with mixed bands. Think of Louis Armstrong and Jack Teagarden; Benny Goodman and Teddy Wilson. Miles Davis and Gil Evans. Artie Shaw and Willie the Lion Smith. Thad Jones and Mel Lewis. Lester Young stating more than once that he had to chose from his two heroes - both white - Jimmy Dorsey or Frankie Trumbauer.
But, I hear the SJWs yell, poor old Lester was a black man and only the white man could make records, so they were all he could get to listen to, that's all that was available to him. Now, think about that for a minute. The black community is thick - do you honestly think Lester didn't hear, personally, every good black sax player that was anyone? Do you think he just made it all up for the white interviewers, even weeks before his death, still repeating the line that he had to choose between Tram and Dorsey?
And let me add to that list Dodo Marmarosa on piano giving Lester Young the most perfect, the most beautifully simply intro to his rhapsody on "These Foolish Things":
Here's the whole track:
Oh yeah, Dodo Marmarosa was Italian. Go figure.
Then there's another line, the line straight from Lester to Charlie Parker. So that means that since Bird comes from Lester, and Lester came from these white guys...
WE CAN'T HAVE THIS! THEY KNOW, TAKE IT DOWN!
So just have at the back of your mind that all this division shit is put there by our enemies to fuck us up. You should be able to see that a big part of the Charlie Parker concept comes indirectly (or is it directly?) from - shock horror - a few white dudes. And we all know of course that Bird then led straight to John Coltrane, the current God of Black Jazz.
So, just remember...
It's OK To Be ((A)) White ((JAZZ MUSICIAN))!
* yeah, I know Schuller played on Birth of the Cool. But his field was much wider - conductor, third-stream composer (didn't he invent the term?). Sudhalter was a Bix fanatic and played the music he's talking about over a lifetime.
** if you happen to be interested in reading this heresy, you can get a copy here:
https://biblio.co.uk/search.php?author=&title=Lost+Chords+-+White+Musicians+And+Their+Contribution+To+Jazz%2C+1915-1945&keyisbn=