[78-L] fwd: New Theory of the Origins of Jazz

[Julian Vein]

David Lennick wrote:
>  >
>  > Now we Know!!
>  >
>  > My Poppadam tol’ me
>  >
>  > Although jazz has thrown up an abundance of controversies over the years, 
> the one element on which there has hitherto been universal agreement is that 
> concerning the origins of the music.
>  >
>  > It has long been accepted that jazz evolved from a combination of African 
> music, introduced into America by the slaves, and European dance music.
>  >
>  > Now, however, comes a remarkable book, “Jazz Is Where You Sikh It”, by P. 
> Vencatachellum, which threatens to cause a gigantic upheaval in jazz circles by 
> claiming  that jazz had its origins in India in the middle of the 19th century.
>  >
>  > In a fully documented survey of the beginnings of jazz, Venatachellum traces 
> traces its origins to an eating house in New Delhi where the specialities were 
> particular spicy jhals. The resident musicians led by Ali Zanda, specialised in 
> syncopated improvised music which quickly became associated with the food being 
> served. It became known locally as “hot jhals” musicand, as the musicians 
> played the “l” out of it, this became corrupted to “hot jhas”. From there it 
> was a short step to hot jazz or jazz.
>  >
>  > If this were all the evidence that Vencatachellum was able to provide, it 
> would be derisory indeed. But he goes on to trace the spread of the music to 
> other towns in India where, during the days of prohibition, musicians would get 
> together for what were known as chutney sessions in the local Sikheasies.
>  >
>  > Meanwhile the original New Delhi band was gaining a wide following among the 
> Sikhs who derived, it is said, great élan from the music. As a result of this 
> the band became known as the Original Sikhs Elan Jhas Band and the leader 
> achieved additional fame when he wrote Ali Zander’s Raga Time Band.
>  >
>  > Hand in hand with the evolution of jazz in New Delhi was a secondary 
> movement emanating from a member of the British Raj in the northern state of 
> Nepal. He assembled around himself a large orchestra of British and Indian 
> musicians which became known as the Nepal White Man Band.
>  >
>  > Also contributing to the mainstream of jazz development was religious music 
> and a number of gopal (gospel) singers were emerging, using jazz rhythms in 
> conjunction with traditional hymns like “We Pilau The Fields And Scatter”. And 
> from the workers in the cotton fields came the blues form, later taken up with 
> some success by a titled woman in the Punjab known only as Maharanee (later 
> corrupted by Western writers to Ma Rainey).
>  >
>  > But perhaps the blues movement, says Vencatachellum, came from the fakirs 
> (including some elderly female ones known as mother fakirs) who roamed Bombay 
> moaning laments as they walked through hot coals.
>  >
>  > Their wailing became so distracting that the authorities banished them to 
> the municipal toilets where a special section was put aside for them. The 
> lavatory seats each had a dozen spikes sticking up and the wailing that echoed 
> through the place naturally became universally known as the music of the 
> 12-barb loos – perhaps the most fundamental form of Indian jazz.
>  >
>  > Vencatachellum traces the development of various forms of jazz – that of the 
> West Coast stream evolved by a group of diminutive members of the aristocracy 
> known as Shorty Rajahs, the bebop movement introduced by a number of seers who 
> transformed the standard Whispering into Guruvin’ High and the rock ‘n’ roll 
> style pioneered by Chuck Ber-Beri, who found fame with RagaBeating Boogie and 
> Sweet Little Sikhs Teen.
>  >
>  > The Author is particularly interesting when he gives the stories behind such 
> jazz standards as Low Down Dhoti Shame Blues, Poppadam Allow No Music Played In 
> Here and You Korma Long Way From New Delhi. He also refers at length to the 
> introduction of the electric sitar by Charlie Hindu and the contributions made 
> by such Indian jazz greats as Vindaloo Donaldson, Rajah kellaway, Rupee Braff, 
> and singers like Delhi Rice and Chappatti page. He also recalls the pioneering 
> work of the dark-hued trombonist from the south known as “Tanned” Ory.
>  >
>  > Vencatachellum is convincing when he explains how Indian jazz evolved into 
> rhythm and blues through the efforts of the Tabla Motown label. And he is most 
> persuasive when he talks about the bosa nova influence from the former 
> Portugese region, led by the talented Domengo Chutney. Domengo, he explains, is 
> nicknamed “Mango” by his followers, and since he comes from the former 
> Portugese region, is often referred to as “Goa Mango” – an appellation familier 
> to jazz lovers throughout the world.
>  >
>  > However the author is on rather more treacherous ground when he sets out to 
> prove that most of the American jazz standards are, in fact, based on original 
> Indian tunes.
>  >
>  > He quotes the case, for example, of an Indian potentate who commissioned a 
> song from a local composer. The composer completed the work and, to make an 
> impression, rode to the palace sitting on the ear of an elephant and singing, 
> Caliph, On Ear I Come. He has other far-fetched  explanations for titles like 
> Ghee Baby Ain’t I Good To You, Whose Sari Now, DIG Urdu Urdu and I Call My 
> Sugar Ghandi.
>  >
>  > Vencatachellum has written a recourceful and fascinating book, but I am 
> bound to say that if you are a serious student of jazz, in the Brian Oxide 
> class, you may find that Jazz Is Where You Sikh It, instead of helping you, 
> tends to India.
>  >
>  > This article is reprinted from Melody Maker and is attributed by that 
> magazine to “the almost totally unknown authority on Indian culture, Jean 
> Elliot, who has made a bit of chutney in her time and once visited Southall”
>  >
> _______________________________________________
I take my Mahat, Ma, off to the guy who wrote this, not that I'm one to 
curry favour. It does sound a bit phall-fetched though. Did the tune 
"Balti-more" originate in India?

      Julian Vein

       Julian Vein