Newspapers / North Carolina Central University … / Sept. 30, 1958, edition 1 / Page 5
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TUESt^AY SEPTEMBER 30, 1958 THE CAMPUS ECHO PAGE FIVE OPUS DE JAZZ By BEN S. PAGE Jazz, College, And Brubeck Jazz critics in most quarters are still specvilating publicly as to what course Modern Ameri can Jazz would have taken had it never “gone to college” at all. It seems, now, that jazz and col lege (like oil and water) are difficult, if not impossible, to mix. Some of the more perceptive of the jazz writers and listeners; and, indeed, even a handful of performing jazz musicians them selves have ventured to say (but only recently) that jazz as a separate, whole art form has been damaged quite extensively from having visited the college campus in the first place, and that jazz will probably not soon (if ever) recover from the glar ing wounds suffered at the hands of the young college set. We, as an avid follawer »f good jazz, are inclined to agree with those who espouse this logi cal and sound philosophy and we must also add (at the expense of offending a certain group) that one Mr. Dave Brubeck, who was probably responsible for “col lege jazz” in the first place, ^ould be held responsible - or at least to a reasonable degree held liable to sharp criticism. It somehow occurs to me now (although it never did before) that the average college student is not siifficiently orientated with reference to what is “good” and what is “not good” (as per tains to jazz) to be left with the adult responsibility of seeing to it that jazz as a legitimate, valu able music does not become a part of what is “fashionable” or otherwise “progressive” on the college campus in terms of musi cal interests and appreciation. And perhaps this is the i>olnt at which jazz as a whole left itself wide open to the savage, imdis- ciplined whims of the college student in general. This, too, is perhaps where Dave Brubeck and “college jazz” enter the pic ture, simultaneously. When Dave Brubeck first left his native Oakland, California to assault the various college cam puses with his romping, un checked brand of piano artistry (via his “Jazz Goes To College” album), he was virtually an un known except in and around Oakland. He was then referred to as another of those “West Coast” guys; and he was, like many others of his contempo raries, only seeking his place in the sun as a new and unique musical force on thd jazz hori zon. Concern at the time of his beginning, therefore, was rela tively unintense since followers of really good jazz expected that Dave would be back in Oakland after a couple of seasons, play ing local gigs again. Dave’s style, they said, was much too clumpy and off-color to amoimt to anything. He was not much more than a “rage-of-the-mo- ment” pianist, they also said, who couldn’t possibly last. However, Dave’s album (“Jazz Goes To College”) caught on like wildfire all over and he, in turn, soon became some sort of American institution - like Mari an Anderson and “My Fair Lady” - and one was considered somewhat of a crackpot if he was a college student and didn’t dig this new piano stylist. As soon as Brubeck’s financial returns from the album started to pour in and some of the hun grier musicians saw that Dave was eating pretty regularly, other jazz musicians started off on the “college jazz” kick and Lee Konitz, another West Coast Saxaphonist, issued forth an al bum called: “Jazz At Harvard Square.” By this tiihe, however, Brubeck had already claimed his majority among the young college set and Konitz’ album realized its best sales at Harvard University itself. But notwith standing, jazz was then duly taken ito graduate school and post-graduate school. And even after all of the “college jazz” albums had been accounted for, a jazz musician was heard to ap proach a recording executive with the Inevitable question: “Wouldn’t it be lovely, sir, if jazz went on further to college and got its Ph.D.?” Time has already proven, though, that the Dave Brubeck of “Jazz Goes To College” fame is not so much in demand now as he once was. He has faded steadily into the backgroxmd of jazz music to the extent that he is mildly considered to have been merely a part of a phase - a relatively un-unportant phase (Continued on Page 8) «N%/ To get back to S / your books and Sandwiclies AD.fi Q from DURHAM SANDWICH COMPANY 3026 Roxboro Road Phhone 9-1332 Senior Profile By Sheryl Schooler Jerome Dudley, a native of Asheville, meets all the require ments of a well rounded student. Worthy, dynamic, and effec tive is he, the chosen Senior of the Month. Unanimously elected to the highest student post, the 21 year old commerce major is president of North Carolina College’s Stu dent Government Association for 1958-59. Over a period of three years, Dudley maintained a B average and has held prominent positions in ;many organizations at this institution. President of his freshman and sophomore classes, Dudley last year served as the Student Go vernment’s vice president. Besides being a member of the Omega Psi Phi Fraternity, he also served on the Concert and Lecture Committee. When asked his prime interest in dealing with students for the current school year, Dudley stated, “I’m interested in work ing very hard to elevate the school spirit, the'cultural tone of our students and to arouse the* intellectual curiosity of our stu dents.” *'COKC" IS A fteOlSTCRCO TRADC'MARK. COPYRIfiHT 0 19S8 THE COCA'COtA COMPANT. Gosh fix)sh! For Cleaning That’s Just Right—Call Us 9 - 3 9 7 8 Boykin - Roberts Cleaners 2314 FAYETTEVH.LE ST. Near the NCC Campus how’d you catch on so quick? Catch on to the fact that Coca-Cola is the hep drink on campus, I mean. Always drink it, you say? Well—how about dropping over to the dorm and downing a sparkling Coke or two with the boys. The man who’s for Coke is the man for us. SIGN OF GOOD TASTE Bottled under authority of The Coca-Cola Company by DURHAM COCAXOIA COMPANY WELCOME.... N. C. CoUege Class Of 1962 COMPLIMENTS The American Tobacco Company (Makers of Lucky Strike and Pall Mall)
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Sept. 30, 1958, edition 1
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