BY Gerry Frederics

Originally written in the year 2002, re-written, corrected and expanded 2007/08 at Santiago de Chile



Firstly I would like to point out that this writer hates the term `Jazz´ music, for the amount of utter trash which has been produced using this label is astounding. In addition, it originates as `Jas´ or Jaz´ which was the term describing male sperm amongst African slaves 400-or-so years ago. In short, the origins of the word are less than musically inspiring.


There has been mediocre Classical music, mediocre Tango music, mediocre Folk music, mediocre Latin music, mediocre Polka music, mediocre Baroque music, we know that Borodin and others of the Russian Five used to jot down stuff they discarded almost at once, hell, I am certain even Ludwig von Beethoven has written some mediocre stuff that he no doubt discarded as soon as he re-read what he put on paper. But NONE of any of this was BAD music, ROTTEN music, AWFUL music, insulting garbage ----- except probably in excess of 75% of Jazz music (mostly post 1960´s). Furthermore, Jazz music is being and has been made by an inordinate amount of people whose every pronouncement reeked and reeks with filthy profanities, people who not only do not comport themselves, but rather refuse to do so, people for whom egregious behavior is de rigueuer, is part of their `culture´.  This behavior is tolerated, since objecting to the verbal abuse and filth would of course be `racist´.


Well, racism is the reaction of civilized people to the actions of pre-historic humanoids masquerading as people and being foisted upon us as `equals´. No one who uses the filthy language of the ghetto, no one who behaves egregiously on purpose, no one who proves time and again to be unable to understand standards (even the lowest ones! of a civilized society and who incessantly flaunts their vileness in my face is not my equal. I do not purposefully offend, why ought I accept incessantly offensive, repulsive, nay criminal behavior directed toward my race? This demand of our politically correct world is a hypocritical ploy by Zionism (tolerance, tolerance, tolerance!) *, **


*`Instill in the Goyim Christian virtues of tolerance, but remain hard and unforgiving in your heart´. Source - The Jewish Catechism - printed in Tel Aviv 1958.

** He who practices unrestricted tolerance (as defined by our insane world) has clearly lost his moral compass, his integrity.




The term Jazz covers everything from ragtime to post-modern mostly white fusion-puke or destructive, primitive grunting a la Archie Shepp and deranged screeching (replete with endless melodic tags) by John `The Insane´ Coltrane and Miles `The squeaking Garbage Mouth´ Davis.


This was written at the instigation of a young Brazilian of Venician ethnicity who was dissatisfied with what he had been told regarding Jazz music. He felt ‘something’ wasn’t right with the version of Jazz history he had been able to discover, something was missing


Since it is impossible to understand history without understanding race – as pointed out by Britains Jewish Prime Minister Benjamin Disraeli so long ago - I would like to point out that in todays politically correct world, ruled by Zionists and their Zeitgeist shabbas goyim, it is impossible not to mention this contentious issue when discussing anything whatsoever – foods, science, painting, art in general, common everyday events, politics, religion, sports – it is irrelevant. Race plays a major role in it all and today it is the white race which is incessantly being bludgeoned, minimized, made to feel guilty and attacked relentlessly; particularly we Germans. The black race on the other hand is being promoted incessantly in all areas at the expense of the white race, no matter how unjustified, dishonest or absurd it may be *. In fact - truth and honesty are not only alien concepts to those who rule at this point of time worldwide, these concepts are anathema and actually targeted for `linguistic assassination´ via world manipulation. ** This exact plan was outlined in the year 1912 (!) by Rabbi Cohen in New York during a speech he gave at the local meeting of the American Communist party.


            * And I Quote: `Tyranny begins with word manipulation.´ George Orwell


** Today in the USA, the vast majority of all government employees are black. No matter how incompetent, they cannot be fired unless they have committed a crime. The overrepresentation of the black race in US government jobs ranges from 250% to over 650% despite the demonstrated fact that the vast majority are at best functioning illiterates. Source – US government Bureau of Statistics. If you want to find out how incompetence is defined, write a letter about a Medicare or such to the office `handling your case´.  It will be enlightening. Interestingly, over 55% of the burgeoning prison population is black as well even though blacks only constitute around 12% of the population. The US military is composed of about 50% of blacks (serving as a last resort of employment) whereas 90% of all those engaged in actual combat are either White or Hispanic, due to the unreliability and cowardice of the black soldiers, of whom an entire regiment was de-commissioned in the Korean war for cowardice before the enemy! `I ain´t gonna shoot no gook, dey never call me no niggah´ was a common refrain in the Vietnam War.  Universities receive massive cash-infusions from the American federal government for every black high school athlete whom they enroll on an athletic scholarship whereas they receive nothing if they enroll a white athlete even if he is better qualified athletically and scholastically, the latter almost a certainty. The results are college teams mostly composed of pre-historic humanoids, replete with the predictable criminal behavior, strange tribal rituals and a general deterioration of everything `college´. This exact thing can be observed in the writings about Jazz History in the English language, whether in the USA or in sycophantically servile and racially clearly suicidal great Britain; and I could go on, but what for? As the song goes, `Don´t Blame Me´. I am only the messenger.


This attack on whites and on Germans * in particular (beginning long before Nazism) is well coordinated and comes from all sides – the homosexual movement, the lesbian movement, the abortion movement, the civil rights movements and the Jewish lobby which in effect directs the activities of all the groups mentioned. It is outside of he scope of this essay to go into this in detail since that would require an encyclopedia, but even a rudimentary search on the internet for the leadership of all the movements mentioned will reveal an overpowering presence of virulent Zionists - all of whom without a single exception are vicious German haters * as well as haters of western civilization per se - in all leadership positions; ditto the entire motion picture, television and newspaper industries.  


            * And I Quote: `Today France is politically very strong - thanks to a large and victorious army and to powerful alliances. But even if the alliances with Italy, England and America hold fast for five hundred years without faltering even for a moment, no far-sighted person will be able to give France any advice but this: `Destroy Germany in her truest sense. Kill her people and settle her lands with other races. Source – Walter Rathenau, Jewish foreign minister of Germany (The perversion of this staggers the mind!) in his `Letters to France´ written after the Versailles treaty and made public on February 6 1920. PLEASE note the year – this insane German hatred has absolutely nothing to do with Hitler or `the Nazis´, all the holocaust-screeching notwithstanding; and sadly there is a plethora of similar sentiments expressed by innumerable Zionist leaders dating from long before the National Socialists ever appeared on the scene.


In short, it is impossible to write anything historical without considering the political and racial context of the times. With this in mind, here we go.




What is missing in todays ‘Jazz history’ is the absence of white people and the total denial that without white European civilization all black Jazz-heroes would be no more than stone-age men banging on a hollowed out log in Sub-Saharan Africa, waiting for the next food shipment from racially suicidal, brain-dead white nations bent on their own destruction. *


 * And I Quote: `Civilizations do not die by murder, they die by suicide´.  Source – Arnold Toynbee British 20th.Century philosopher.


I have been asked whether I will be able to write this being ‘objective’. This question is proof that the person who asked it missed the point entirely. So far, practically all essays about Jazz music have been non-objective, praising blacks at the expense of whites and ignoring the European scene in the years 1920 to 1945  (for this period was largely a `German´ period, despite the vile Weimar republic) entirely. I am only interested in pointing out the historical lies which have been and are being perpetrated by Jazz music critics, who have by now largely succeeded in erasing the white presence in that music with the indubitable result that it has been reduced to Afro-centric animalistic howling on a level lacking even rudimentary civilization. When witnessing a display of heavily perspiring drug-addicted humanoids abusing a Blüthner grand piano and howling into Sennheiser  microphones at the Kölner Jazz Haus, it is enough to make me want to lose my lunch; seeing the brain-dead and corrupted German audience (they all seem to suffer from racial Alzheimer) applauding these pre-historical Ersatz-people as if they had just been treated to the Berlin Philharmonic playing Beethoven´s Ninth, I do.




I have loved Jazz music since I first heard Fats Waller as a very young boy way back in 1952 listening to the American Forces Radio Network in Frankfurt a.M. in my beautiful country. But I also remember getting really excited and turned on only after I heard the Glenn Miller orchestra. After seeing the movie, I must have whistled the tune `Moonlight Serenade´ so much, it must have driven my poor mother nearly over the edge! I have instinctively preferred white musicians and bands, many decades before I concerned myself with the race issue or with historical research in fact before I knew whether a musician was white or black, for in my home certainly no one knew. I am quite convinced that this is a genetic pre-disposition. In fact, matters of race, anti-Semitism etc. was never even mentioned in my home, a highly civilized environment filled with Schubert Lieder, Cranach paintings (not the real thing of course, we were not exactly rich, both sets of my grandparents having lost most of their wealth during the `glorious democratic´ Weimar Republic, this mad-house designed so that the world could plunder Germany unhindered), Grotrian-Steinweg grand piano, a cello and a family in which it was assiduously avoided to discuss religion or politics in order to avoid conflicts. No one ever objected to my sitting in front of our little Volksempfänger radio set listening to Jazz music except my brother Immo (a passable player of the classics, albeit very narrow-minded and painfully rigid) who showed his dislike by making disapproving faces before ostentatiously leaving the room. * Fats was a great player, but the smooth, disciplined and elegant sound of the Miller band really did it for me. Much later I found Be-Bop exciting, but the smoothness and civilization of a Lennie Niehaus group or of the Dave Brubeck/Paul Desmond quartet is what I really enjoyed and could identify with. I do not believe ever having heard a more exciting recording than Lennie Tristano playing in Tokyo with white drummer Tox Drohar. That record (Descent into the Maelstrom) puts anything black to shame, hands down; or how about `Jazz at Oberlin´ with the Brubeck quartet? Wow – excitement pure and intellectually challenging!


Thelonius `Stumblebum´ Monk or Dizzy `The Clown´ Gillespie, or any of the others (with a little Tadd Dameron stuff as the sole exception) have never done anything for me; they are all so utterly primitive, so uncivilized, so inelegant, so loud-mouthed, so egregious and crude. The allure of Duke `Jungle Sounds´ Ellington has always escaped me, whereas the Stan Kenton and Claude Thornhill bands or the Woody Herman Herd (`Midnight Sun´ is an absolutely beautiful theme!) really `yanked my chain´. My reaction is purely genetic, for it has always been so, long before I concerned myself with anything racial or such and no one in my home `programmed ´ me one way or the other. Conversely bands which took their inspiration from Ellington, such as Charlie `I wanna be de Dook´ Barnett (his version of Cherokee is awful, in fact it is embarrassing and someone should have taken pity on the poor soul and taken his saxophone away from him) left me mostly disinterested.


Countless books have been written about jazz music. The very first ones were written by French studied and degreed musicologists. They can be credited with being the founders of the myth that Jazz music is essentially African or Black and that Whites have contributed only peripherally, if at all. Maybe the Frenchmen, who were Afro-Centrists long before that insane obsession became fashionable, ought to have been locked up in an insane asylum.



Todays jazz histories almost totally ignore white contributions or musicians. Todays books on Jazz invariably feature a photograph of Miles ‘The Garbagemouth’ Davis on the cover, even though it is demonstrable, that this criminal humanoid destroyed the beauty of jazz music nay, he and his revolting cohorts such as John ‘The Insane’ Coltrane or Archie `The grunter´ Shepp – blacks all - destroyed Jazz! It is for that reason, that I will mention mostly white musicians and white contributions in this essay. My aim is not to denigrate great black musicians. I leave denigration of great musicians to the likes of black trumpeter Wynton Marsalis who actively denigrates and insults white musicians and largely ignores them. We whites don’t need to do this sort of thing, since we do not suffer from inferiority complexes when it comes to the creativity of our race.  If you wish to learn about black musicians, and you should, read any of the books on Jazz by Joachim Ernst Berendt, Leonard Feather or Frank Tirro. These books are widely available anywhere. This essay is about white musicians and white contributions because you’ll find precious little about either subject in any of the ‘official’ books on the market.


I will mention and identify some black musicians only insofar as I see fit e.g., when they have been important or overrated or when they have been the source of falsified stories which have invariably defamed white society. I take this incessant defamation and demonization very personal, since never having done anything to harm anyone, but having been racially and nationalistically defamed nonetheless, insulted and type-cast as a racist merely because of my being white, German and having observed the egregious, vile behavior of the black race world-wide, which resulted in my having drawn inescapable conclusions since I, being very German, pay close attention to Emmanuel Kant´s axiom: `Have the courage to use your common sense¨.


            And I Quote: a) `All truths are invariably offensive´.  Thomas Paine

                                   b) `Free speech knows no manners´. John Birdman Bryant.



Most all Jazz critics or Jazz writers I have ever read, have kow-towed to the politically correct line, which is to say, the insanity of racial equality. This, for the most part does not apply to the Jazz critics writing in the 30’s or 40’s. Men like the late Dave Dexter for example freely spoke of `white´ Jazz music etc. Indeed, black, yellow, red , or even a three-legged pink-with-purple-polka-dots circus freaks are my equal before the law, have the same legal rights as I, but that doesn’t make any of them my equal.


Converseley I am nowhere near Bill Gates’s equal in the matter of bank accounts, and I am nowhere near Duke Ellington’s equal in musical talent; nor can I jump like a flea like todays ‘heroes’, most of whom incidentally have been found out as having been drugged-up frauds.    


It is reverse-racial prejudice and self-hate which has caused white or Jewish Jazz critics to wildly exaggerate the contributions or talents of black musicians, of the black race per se at the expense of  white musicians.


Consider this:


  • The white race has created practically ALL musical instruments. It has created absolutely and without exception all theories, musical notation and teaching, manner of playing, the metronome (this invention was so important Ludwig von Beethoven dedicated an entire symphony to the inventor!), absolutely all concepts of harmony, the concepts of a musical scale etc., ad infinitum.


  • The instruments and the music created in Asia are extremely primitive. Their music lacks any and all harmony, melodic beauty as Western Man understands it or rhythmic complexity.


  • It ought to be remembered here, that it is the western concept of beauty, which is accepted worldwide as the pinnacle of beauty, whether in man, animal or in music. When listening to the ‘great’ Ravi Shankar, one is struck by the monotony of it all, by the incredible primitivity of the rhythms and the total lack of harmonization or colorization. And Indian ‘music’ is the by far most advanced of them all! Japanese, Javanese, Malaysian or Thai ‘music’ is best not even spoken about, ditto the cacophony of Chinese screeching, the entertainment value of their opera notwithstanding.  I once saw a Siamese folk opera. It was cute and entertaining, but frankly on the level of a European puppet show for children and the music was, well with all due respect to their culture (and yes they do have an amazing one – I happen to like Asians as a general rule and am well aware of their culture ) laughable.


  • Interestingly enough, it is Asian nations which are embracing European music wholeheartedly and are producing some very fine musicians these days for the Asians may not have been active in creating anything whatsoever for the past 1500 years, but that was only due to an inexplicable `going to sleep´ of their incredibly intelligent and - as will be demonstrated in the future I am certain - creative populations.


  • Africa? Men thumping on a log, pounding the dirt with their feet, which is called ‘dancing’ and if there’s a melody at all, the most primitive, basic chants consisting of 6 notes at most. Whenever one is shown the `progress´ that has allegedly been made on that accursed continent, one sees burr-headed humanoids bobbing up and down like the  proverbial jungle bunnies they are; pitiful, truly pitiful what is being foisted upon us as `culture´ and black progress. A pre-stone-age people cannot register any progress in a few decades. It will take tens-of-thousands of years (with luck!) for any improvement to be shown if indeed they can evolve at all - something the great humanitarian Dr. Albert Schweitzer frankly refused to believe; and if anyone in history had in-depth experience with blacks, he was it.


  • European religious hymns and marching music inspired black slaves. Without the white race, the entire black race would still be scratching in the dirt looking for roots to eat, chewing on monkey bones, or engaging in cannibalism, as they are doing right now in the year 2007 in the Congo, Chimpbabwe and elsewhere on the dark continent, a continent which is dying; considering the violence - prone, aggressive and animalistic parasites it has as its indigenous population, good bye and good riddance! This natural process is of course impeded by insane, brain-dead and corrupted whites who insist on `helping´; not so the Chinese or Jewish interests – they bribe the black officials massively and plunder the natural resources of this once beautiful continent.


The contributions of the black race are decidedly less grand than Jazz historians would have us believe. This conviction of mine is based on loving and studying Jazz music for almost 50 years. I have read every book imaginable on the subject – in two different languages yet – I even have studied Jazz piano with Professor Frederick Roger Saatmann – a real master -, albeit for only a year, I have collected and studied a huge amount of jazz records and have a real appreciation and understanding of European classical music as well. My music library extends from the pre-baroque era to Alban Berg and includes Jazz music from the very early 1920’s to the 1990’s.  I grew up in a house filled with music. My mother used to sit on our magnificent Grotrain-Steinweg grand piano, accompanying herself singing Schubert, Brahms and Hugo Wolf Lieder; or she picked up her guitar and sang folk songs in three different languages (German, Italian and French. She even tried Gaelic, being inordinately fond of Irish folk music, of the Irish generally; being an excellent cook, her Irish Stew was absolutely fabulous!) Two of my brothers played the classics, Helmuth extraordinarily well. He used to quip that I was the only 7-year old kid in town who was whistling Rachmaninoff themes on the way to school. In short, my general knowledge and appreciation of music is extraordinarily broad and all-inclusive, so I have been told. I am pointing this out not as self-aggrandizement, but because I know how little culture most jazz critics and musicians have, how lacking they are in cultural appreciation, how uneducated most of them appear to be.


Most jazz critics and musicians lack culture and most know nothing of any other music. 25 years ago I knew a Swiss-German in Los Angeles whose knowledge of Jazz music was encyclopedic. Not only that, he could easily differentiate between a trumpet solo by Howard McGhee and the obscure Idrees Sulliman, absolutely incredible. But he knew nothing, absolutely nothing about classical music and what´s more - had no interest. He had never heard (!) Dave Brubeck play, he knew Stan Kenton, Chet Baker, Lou Levy ad infinitum only peripherally. As an interesting aside, he was well aware of the white Chicago scene of the 1920´s and knew Bix Beiderbecke, Frankie Trumbauer et al very well indeed; but the only modern white players whose work he was familiar with were those who were `wiggers, such as the raging drug addict and alcoholic Art Pepper (the more I have listened to him, the less I like him. In fact, I haven´t insulted myself with his frantic, unbalanced I-wanna-be-Charlie-Parker screeching for a long time). My friends ignorance regarding white musicians was unique, while his knowledge of every black fart ever blown was stupendous. I tried to enlighten him the best I could and we did spent many evenings listening to great stuff like `Supersax´ * for example. He once invited me to a concert of `a great new band´ (his words). Well, invitation is the incorrect word, since I paid for my wife´s and my ticket. Since the event took place at Santa Monica City College, this gullible German never thought an aural disaster was a possibility. Furthermore anyone who knew about Jazz as much as George did could not possibly be far off, even if he essentially knew only that which blacks had played and some of their stuff was indeed great music, especially after being cleaned up by a white sound engineer in a white recording studio! I happen to have a Charlie Parker recording, made live at some event, no editing, no splicing, no corrections, purely original. It is awful, it is trash, it is so full of musical mistakes that it embarrasses. **, ***


            * Supersax was a great white group from Los Angeles which took Charlie Parker solos, cleaned them up, harmonized and played them; this was interspersed with great trumpet solos usually by the West Coaster Conti Condoli. Trust me, Charlie Parker never sounded that good!

            ** A Chilean sound engineer I knew many years ago told me; `I can make anyone sound great - just give me the proper electronics.´

            *** Another great Jazz group was `The Swingle Singers´. This was a French choir organized by a certain Ward Swingle, a Paris-based American drummer and arranger. He took Johann Sebastian Bach and Wolfgang Amadeus Mozart themes, arranged them for voices and performed them, backed by the tasteful drumming of Mr. Swingle. Great white Jazz, performed by civilized and elegant musicians and singers.


The band stand filled with a conglomeration of weirdly dressed characters. The trumpeter - or as such he masqueraded - wore a dirty house painters outfit. I forgot the other circus freaks, but the drummer wore the face mask of an ice hockey goaltender. This is no joke. It had to be seen to be believed. What was really puzzling was that I appeared to be the only one to be taken aback by this sight; the audience, obviously thoroughly brainwashed victims of the American `skool´- system sat there – anticipating what these paragons of culture would bring. Sans introduction of any sort these escapees from an insane asylum began to make unintelligible noises; it sounded as if an orchestra of the criminally insane was tuning up. Bobbing up and down in Bantu fashion was de rigueur of course, black culture at its very best needs bobbing up and down! Grabbing ones crotch is another sign of African culture; the latter is difficult for saxophone-abusers. I looked perturbed at my friend, who got very annoyed at the fact that I apparently `did not understand´. Well, after less than 5 minutes of this insult, we left. The rest of the audience just sat there. The name of this `great new group´ was `The Chicago Art Ensemble´; word manipulation, nay, pure linguistic rape.


The reason for my elaborating on this is to point out the horrendous ignorance of many Jazz fans, ignorance so massive, that anyone, anything, any place as long as it is niggah can be passed off as something of value. They neither possess the cultural background to asses nor to evaluate anything aesthetically nor the moral backbone, having been brainwashed and poisoned. Hence the success of so much `Modern Art´; Modigliani, Kandinsky, von Jawlenski, Juan Gris and some others incidentally belong to my favorites, but those are the exceptions, for I maintain that the vast majority of that which is pawned off to the unsuspecting public is fraudulent trashy sight and cultural pollution - and yes that includes the wife-beating sadist Picasso, the most successful (self-admitted!) fraud of them all.



I truly was and am a Jazz-lover. As a very poor part time college student, working as a floor-cleaner in a Plastics Factory in Hayward Ca. in order to eat, I would save up hard-earned dollars in order to visit the “Jazz Workshop” or Basin Street West in San Francisco’s North Beach district.


In 1965, fresh out of a job and economically destitue, I spent my last $50.00 on a lovely smoking pipe hand carved in the Pyrenees and a Count Basie record in order to lift my spirits. Basie led a fabulous big band and was one of the few non-offensive black musicians who hired mostly white arrangers. His music will lift the spirits of anyone!


When I was doing really well in 1970 or so, I took a plane in Seattle, Wash. at 5 p.m. on a Saturday to fly to San Francisco in order to catch black singer/pianist Carmen McRae at the Basin Street West. After listening to one set, that’s 45 minutes, I left to return to Seattle via airplane in order to go to work Sunday morning. In those days I was working up to 60 hours per week. Carmen McRae appeared to be a lady. She had a fabulous voice, fantastic phrasing and delivery. She appeared to be civilized.


Years later I heard her at Howard Rumsey´s * Jazz Club `Concerts by the Sea´ in Torrance, Ca; I was shocked at her appearance. She sported an Afro and worse, the belligerent, hostile Afro attitude prevailing these days. She completely ignored her white audience (those who had bought her records), pandering to a handful of black ‘ladies’ by grunting ebonics and referring to them as `sistahs´, it was awful. She had completely degenerated; she proved that a black who seems to be civilized usually only possesses a civilized veneer; it is forced, civilization being essentially foreign to black nature.


And I Quote Dr. Albert Schweizer  – African blacks are incapable of participating in European civilization. Source – The Nobel Prize Acceptance Speech of Dr. Albert Schweitzer.


            * Howard Rumsey was a fine bassist and was featured with many of the early Stan Kenton bands in the 1940´s and ´50´s.


I have no difficulties differentiating between the good, the mediocre or that which was Kitsch and trust me, the black ‘Satchmo’ Armstrong ‘singing’ (grunting would be a more appropriate term) the tunes  Hello Dolly or It´s a Wonderful World is Kitsch of the very first order and utterly unworthy of an allegedly great musician. This man, maybe a decent bloke to be sure and certainly non-parasitical and non-violent was voted as one of the most important 100 people of the past 1000 years; truly the insanity never stops! Dave Brubeck, forever sycophantically pandering to blacks for mysterious reasons, recorded with James Moody, a decent if forgettable tenor saxophonist on which Moody insists on `singing´. Brubeck ought to be ashamed. Aside from the Brubeck-composed song being awful Kitsch the lyrics are so stupid as to be positively embarrassing. Putting his name to this illiterate trash merely proves that Brubeck lacks even the basics of self-criticism. How it is possible that a musician of Brubeck´s stature would lend himself to such garbage escapes me. If he were `niggah´ it would be de rigueur, but with his ethnic background it signifies degeneration.  

The life-span of jazz music is only about 100 years from round 1870, until about 1970. Practically everything after 1970 is horrible trash, not worthy of being listened to. There’s music which is mediocre garbage and then there is sound as well as cultural pollution.


The trash referred to as ‘Jazz’ after about 1970 is almost always pure sound pollution on par with the ‘Aids’ virus, the ‘Equality’ virus, the ‘We Must Help’ virus, the ‘Holohoax virus’ and all the other civilization-destroying puke which has been poured down the throat of gullible whites the world over by the most damaging virus of them all, Zionism *.


* And I Quote: `The meaning of the history of the last century is that today 300 Jewish financiers, all Masters of Lodges * rule the world.´ Source – Jean Izoulet, Jewish member of he Jewish Alliance Israelite Universelle in his book `Paris la Capitale des Religions´ written in 1931.  ---- As the song goes, `Don´t Blame Me´! I am only the messenger.


            * It has been stated by insiders that the Masonic lodges are all purely Jewish and are led by Zionists, even if the average kept-forever-so stupid member does not know it.

As the song goes, `Don´t Blame Me´, I am only the messenger.


During those 100 years some spectacular music was made, real innovators made their appearance, black, white and Jewish. It is difficult to pinpoint Jewish musicians since many have none-Jewish names (many names are purely German – such as Berg - and used by Germans as commonly as by Jewish persons) and their manner of playing cannot be differentiated from that of white musicians. There are rare exceptions *. Jazz and popular music, such as the ‘American Musical’ are the only cultural endeavors in which Jews have contributed massively on a creative level; and even there Jewish sources massively exaggerate, for the creativity cannot be compared to that of the classical composers and secondly, without extensive studies at European, mostly German conservatories, men like the great song writers Richard Rogers or Jerome Kern (etc) could never have done what they did. It was German schooling which taught them what they knew, the same as with the Jewish scientists, who learned their tricks from French/German researchers and text books. Like blacks, they have originated nothing; but unlike blacks, they copied well.


            * The Benny Goodman trumpeter Ziggy Elman comes to mind. He came right out of a Klezmer band. His shtick was so Yiddish, it was embarrassing; listening to him solo is a comedic experience. The fact that Goodman would feature such a circus clown demonstrates his lack of aesthetics, his Kitschy mind. Elman reminded on one of those fiddlers depicted in a Chagall painting of one of those horrid filthy little Shtettls in Russia somewhere. ---- As the song goes, `Don´t Blame me´. I am only the messenger.


Nevertheless, they’ve had a major hand in Jazz music, have contributed mightily and have produced some of the finest musicians in the field. Furthermore it was almost exclusively Jewish song-writers such as George Gershwin, Richard Rogers, Jerome Kern and Irving Berlin whose songs formed the melodic basis for many of the most memorable Jazz recordings in history.


Of the important Jewish songwriters, George Gershwin is the most significant. He can be counted amongst the ranks of serious composers. He was one of the best of the 20th. Century, not a mean feat, considering that century was the age of Debussy, Scriabin, Ravel, Bartok, Hindemith, Berg and Rachmaninoff, to name a few.


Jewish sources when speaking of Gershwin (or any of the others) imply the poverty of his up-bringing - the poor little fellow - and the lack of official studies and the anti-Semitism which plagued him at school blah, blah, blah. Sorry – only ignoramuses buy into this shtick. No one without extensive training could write something like the Rhapsody in Blue *, no one without extensive training could play the piano as well as he did and no one without money could possibly have enjoyed such an extensive education. These song writers and composers do not need the `help´ of lies, whether little, big, or half-truths, those insidious lies which can and are inserted into every discussion regarding the historical events of the 20th.Century, those evil character- and Germany assassinating half-truths.


* The Rhapsody in Blue was originally written by Gershwin as a piece for two pianos and was orchestrated by Ferde Grofé *, Paul Whiteman´s arranger.


* His real name was Ferdinand Rudolph von Grofe (no accent on the final `e´) and it is claimed he was of Huguenot extraction; judging by the purely German name I doubt that. Nobody of French extraction has a `von´ in front of his last name and only rarely does one find the German name `Ferdinand´. In addition, he studied as a young boy at the Leipzig conservatory, something only possible if he was fluent in the German language which in turn is possible in a child only if he has been brought up in that language, something exceedingly unlikely, nay unheard of with a French family. Furthermore had he been of French extraction he would have been sent to the excellent Paris Conservatory by his mother, the French being extraordinarily chauvinistic; he probably `converted´ to being French-Huguenot due to the insane anti-German hatred in the USA during and after WW-1, a hatred manifesting itself in – amongst other niceties - the public lynching of German Shepherd dogs (!), the plundering and subsequent burning to the ground of German farms – the by far most productive and clean ones in the vastness of Texas ad nauseam. Ah --- those wonderful, civilized democ-Rats.


Inexplicably these Jewish composers and song writers are mentioned only peripherally in Jazz encyclopedias, ostensibly because they did not write Jazz per se. Well, this may be so, but it is their thematic material all Jazz musicians as of the advent of modern Jazz have used as their vehicle of improvisation, so much so, that to ignore these writers in the literature on the genre is absurd. In fact numerous black `compositions´ are improvisations over thematic material stemming from the American Musical such as `My Little Suede Shoes´ (Parker) = `The Continental´, or `Ornithology´ (Parker) = `How High the Moon´, or `Groovin` High´ (Gillespie) = `Whispering´ and numerous other examples of black `compositions´. That is called plagiarizing, but apparently not if we deal with blacks, these paragons of virtue; only a racist would dare point this out. Well now, if that makes one a racist -----------.


What is puzzling here is that most all jazz writers these days are Jews. So why do they essentially ignore the contributions of their own race? There must be some agenda here, for nothing done by Jewish opinion makers happens accidentally.


            And I Quote: `We did not leave you alone. We took you in hand and pulled down the beautiful and generous structure you had reared and changed the whole course of your history.´ Source - Eli Marcus Ravage, Jewish writer for the New York Journal in the 1920´s.  ---- As the song goes, `Don´t  blame me´, I am only the messenger.


The various periods of jazz music overlap timewise. Some styles have never disappeared, others have, others still have mutated.


There are some styles which are decidedly none-American, such as Bossa Nova, which is essentially Brazilian even though the catalyst for it were two white musicians in Los Angeles. This sounds crazy but bear with me, or the style of playing as typified by the Hot Club de France * which was heavily influenced the French Chanson as well as by traditional Gypsy music the latter being the father of the `Spanish´ flamenco.


            * The Hot Club de France influenced the young Helmuth Zacharias Quartet in Berlin 1941 heavily.


After black slaves had been brought to the new world by mostly Jewish slave-traders who had bought them from Arabian slavers, who in turn had bought them from the originators of the African slave trade – BLACK slavers who raided unsuspecting villages in the interior of the dark continent, * white preachers went to work with a vengeance converting them to Christianity instead of leaving them alone, which common decency dictated. In the American South, the Baptist and Methodist sects were predominant. Therefore the majority of blacks in the USA are either Baptists or Methodists. It must not be forgotten, that black Christianity differs greatly from the white variety, with Voodoo influences, `shouting´ instead of singing and decidedly none-demure behavior of those captured by the spirit of the moment. In their own words `We be gittin´ down´ , which means the exact opposite  for they jump up and down and howl as if possessed, possibly worse yet than white degenerates in a Pentecostal church foaming at the mouth and rolling on the floor; hence the disdainful name `Holy Rollers´.  As the song goes, `Don´t Blame Me´, I am only the messenger.


            * The documentation of this is overwhelming and has been compiled by the American Black Muslims. Most of the research was done by very conscientious Jewish historians who honorably did not shy away from naming names and from telling the truth.


Music plays a major role in the Christian faith, particularly in the Protestant sects which have produced some of the most profound music the world has ever heard, such as the works of Johann Sebastian Bach who is a beacon of civilization on par with Michelangelo, von Goethe, Voltaire, or so as not to offend the English – Shakespeare or Thomas Carlyle.


Black slaves demonstrated their musical ear by learning how to sing religious hymns very quickly. There were practically no German, Italian or Irish immigrants in the American South. Consequently the culture of that region was almost entirely Scottish/English and the religious hymns sung in the churches were exclusively of the Methodist, Presbyterian or Baptist faiths, Christian Protestant cults some with Scottish origins, all of them extreme. The vast majority of those hymns in turn had originated in Lutheran Germany, since it was that Christian denomination in Germany (initially benign and by far the only Christian sect even remotely reasonable and definitely decent in character – then (!)* which had been most prolific in the composing of religious music.


            * As the Gershwin Song goes: `Long Ago and far Away´. Don´t blame the messenger for inconvenient facts.


The culture of Louisiana was essentially Catholic French, but had mutated into something all its own - the Creole culture; the Creole were a mixture of French plantation owners and black women, only the cream of the crop of course. The Catholic faith there evolved into a mixture of Voodoo, Christianity and African animal worship. When Louisiana was sold by Napoleon to the USA Protestantism in the form of the Presbyterian, Baptist and Methodist churches began to make massive inroads in the black population of this state and particularly of New Orleans. Today every black from New Orleans claims to be Creole, patent nonsense for the Creole race - and a race it really was and a largely fine one at that (!) - * has died out and those blacks who vegetate there these days, for welfare niggahs vegetate, have absolutely no relation to those in bygone days. This was demonstrated conclusively during the natural catastrophe of Katrina – but this takes us too far a-field.


* The Creole resulted due to the miscegenation of French plantation owners (the cream of the French crop) with black slave women (again - the cream of the crop). The very rich and well educated French only picked the finest looking and most intelligent house-slaves as their amours. The result was a race of people, who mostly were superior blacks. An obviously superior specimen was the fabulous, civilized jazz pianist Teddy Wilson. Strangely, even though it had been Benny Goodman who had given him national exposure and the chance of a life time, Wilson hated Goodman with an abiding passion for reasons unknown to this writer.


Blacks not only learned how to sing Protestant hymns in church, but sang them in the fields during work as well. This is the origin of the Black Work Song and Gospel music, as practiced by America’s black population in the south of the USA. They developed a unique manner of singing, of ‘slurring’ the notes, of adding minor notes.  


Thusly, a form of vocal improvisation developed without words, since many of the English words were unintelligible to the black slave population. The resulting sound was totally different from that heard in the white churches, even though musically, it was based on Protestant hymns, many of them German, for as mentioned previously it had been the Lutheran church in Germany which had been most prolific in religious music.


There were two distinct different groups of slaves, the house slave and the field hand. The house slaves were privileged insofar as their clothing was decent, they were taught manners, hygiene, how to cook, being a gardener, nursery maid, how to ride horses, how to be a chauffeur, a footman, a butler etc. Spending their time in the houses of the master, they were also exposed to musical instruments. The education they received by exposure alone was monumental and made them vastly superior to any African on the dark continent today or one in the southern plantations at the time. House slaves regularly referred to field hands as `niggers´ and disdained them.  


It was customary in those days to have a piano in every parlor and frequently the ladies of the house, aside from playing the piano, played the guitar or banjo and sang as well.


During holidays, the slaves witnessed the unmatched splendor of the American marching bands, hearing the sounds of American composer John Philip Sousa and European military marches such as Hitler´s favorite, the Badenweiler Marsch.


Being exposed to this plethora of cultural and civilizing influences, some house slaves learned how to play instruments and learned rudimentary music, all with the active encouragement and support of their white owners. Consequently they received an education the field hands or the blacks in Africa couldn’t even dream of.


  • The debt owed by Blacks to white, European-American civilization cannot be overstated. It is colossal and totally ignored today.


And so it was that the birth of a new form of music came about. Protestant hymns and American/European marching music formed the inspiration, the melodies and the harmonic structures. European instruments furnished the instrumental basis, and the unique black manner of singing created a whole new sound. Only few blacks had enjoyed any formal musical training. Therefore their manner of playing any of the instruments was patterned after their way of singing - creating a totally different sound experience.


Used trumpets, saxophones, clarinets etc. enabled the black slaves to form rudimentary bands. White slave owner never hindered a slave from making music; on the contrary, they were encouraged. This was because a happy worker produces and a worker who is permitted to sing is happier than the one who isn’t. The concept is really quite simple.


To speak of blacks ‘having brought the African scale’ with them and other assorted nonsense is insulting. Africa has never produced a written language and that includes a musical one. The developmental level of African music, if indeed such it can be called, was on a pre-stone-age level when the first white (mostly English) explorers braved the forbidding jungle. So how could a Black have brought a musical scale with them?


African drums have never been more than a hollowed out log on which a cannibal thumped away after his lunch of `missionary a la carte´. Not only that, they weren’t even hollowed out on purpose, but rather logs which had become so due to age and termites. Drums as we know them are a purely white, European invention, the exception being the cymbal which originates in China. Much, much later bongos and the like were developed in Cuba and Brazil. There again, we have white societies, within whose frame-work the bongo-drums developed. The manner of playing drums, notating rhythmic notes etc. is also purely white. There were practically no instruments in Africa. What is now being passed of as an African instrument, hardly qualifies to be called such, not even on a primitive level. Those things are laughable.


Whatever musical traditions or scales allegedly existed in Africa are the figments of the overactive imagination of white musicologists who are determined to create something which never existed and who insist on intellectualizing some extremely primitive chant, which should have been taken for that which it was, namely not much.


  • There simply is no African musical tradition in the European sense. There is no African literary tradition. There is no African artistic tradition, unless one wants to accept the grotesque carvings from Uganda as ‘art’. Anyone who denies these things is a self-delusional ‘liberal’ – but wait - qualifies to be a Jazz critic in today´s up-side down world of insidious dishonesty!


Initially, the only places black musical groups performed, was as a marching band during funerals, a charming custom alive to this day in the city of New Orleans and for dances in the black part of town Saturday nights. This is the origin of songs such as `Darktown Strutter´s Ball´ aka `Dat´s why Darkies are born´ or `Old Black Joe´.  The lyrics of some of these songs are so telling that the music is today all but forgotten (on purpose of course). The great American folk composer Stephen Foster is all but forgotten for this reason alone. To Brubeck´s credit, he recorded some of Foster´s tunes, even though without a vocalist for had he done so, he would have instantly been dubbed a `racist´ and for a guy who sycophantically worships at the altar of every black clown to ever put a horn to his generously shaped lips, that simply would not do!


This is the way things remained until about the beginning of the 20th.Century. At that time a new type of dance music came into its own, ‘Ragtime’. Ragtime had been around for a long time, but it became popular with the advent of the 20th.Century. It was a form of music practiced by blacks and whites to an equal degree. The most prominent promoter of that style was the extraordinarily prolific Jewish song writer Irving Berlin (Isidor Balin), a man who had immigrated from Russia or White Russia as a child (no one knows exactly whence he came) and who wrote ‘Alexander’s Ragtime Band’, a song still played today.


The most famous musicians were a black trumpeter named Buddy Bolden, the black pianist/composer Scott Joplin and the Creole pianist/song writer ‘Jelly Roll’ Morton. Irving Berlin achieved incredible success as a writer and publisher of popular songs such as ‘White Christmas’, ‘How deep is the Ocean’, or ‘Cheek to Cheek’ and many, many more. Berlin’s songs were almost invariably great tunes. Whatever he wrote was corrected and re-written by trained musicians since he was musically illiterate. Nevertheless, he was a great, influential song writer and Jazz music owes him many great melodies.


Buddy Bolden led the first Jazz Band recognized as such. It featured a number of New Orleans musicians, including the great black trumpeter Bunk Johnson. Bolden made his living as a barber and his band played on weekends in various restaurants catering to the black population and for funerals within that community. After a nervous breakdown in 1907 he spent the rest of his days in mental darkness, the inmate of an asylum.


Scott Joplin was born immediately after slavery had been abolished. He enjoyed full-fledged classical training, was a fine pianist and a prolific composer of ‘rags’. He even appeared at Chicago’s World Exhibition in 1893. Around 1900, he stopped actively playing and concentrated on teaching. He is the author of an instruction book on how to play rag-time piano.  Joplin was one of the very few black musicians regardless of era with real intellectual capacity. 


    • His music was rediscovered in the early 1980’s and he became a cult figure with intellectual musicians, mostly none-Jazz, lily-white university types who, being victims of todays `publik skools´ have never read Goethe, Schiller, or Voltaire but in their massive ignorance delight in the certified idiocies of Afro-centricism, holocaustianity, and other assorted malignancies, all of which are aimed at the very heart of the white race.


‘Jelly Roll’ Morton had been born in New Orleans, the son of a black woman and a French father. He enjoyed a white education, including extensive musical studies. He was soon established as the most sought after piano-rag player in town. Practically everything he played, he had written himself. He made a fabulous living playing in the Red Light district of New Orleans He had everything a man could ask for, talent, good looks, local fame, money, wine, women and song. His life style was quite lavish. He sported a gold tooth adorned with a pure diamond of considerable weight. Alas, like so many men, particularly black men he didn’t think of his future. While musical styles changed and made rag-time obsolete, even quaint, he kept on playing the same things, telling everyone within earshot that he had ‘invented’ Jazz music. New Orleans no longer wanted him so he went traveling ending up in Los Angeles. There he lived in his dilapidated old car and died totally broke, alone and forgotten around 1939 - the fate not only of many Jazz musicians but of many artistic types, no matter which race, genre, era or geographical area.


    • If you ask black jazz musicians today about these three, you will be met with an in-comprehending stare. Blacks are forever howling about equality, but haven’t the slightest notion of their own true history. Not only that, they appear to lack the intellectual ability to recognize the importance of historical knowledge. It requires white men, to record those few parts of their history which are worthy of recording.


During WW1, the first epic upheaval and insane fratricidal slaughter demonstrably designed by World Jewry in concert with the entire English-Speaking-World in order to destroy Germany *, Jazz music matured in New Orleans into what we nowadays call Dixieland. Originally it was called New Orleans style and many people still insist on doing so, but I defy anyone to tell me the difference between New Orleans style and Dixieland.


* And I Quote, one quote of numerous ones: `Israel won WW-1; we made it, we thrived on it, we profited from it.´ Source – Count Mensdorf, Austrian ambassador to London speaking in the year 1918. As the song goes `Don´t Blame Me´. I am only the messenger.


I find Dixieland to be more descriptive, because from New Orleans this new music spread like wild-fire throughout the American South, a geographical region which has always been called Dixieland, no matter what the politically correct liars of today want to call it. Dixieland was a musical style which appealed as much to blacks as it did to whites and it spawned a large number of black as well as white musicians of note. The originally most famous Dixieland Band was called “The Original Dixieland Jazz Band” and consisted of Russel Robinson piano, Larry Shields clarinet, Nick La Rocca trumpet, Emil Christian trombone and Tony Spargo drums.


Spargo´s real name was Sbarbaro, ethnic Italian. Nick LaRocca, ethnically Italian as well, is regarded to this day as one of the finest Dixieland trumpeters. Emil Christian played in Berlin for many years during the Weimar period; he was brought thence by the ex Paul Whiteman drummer Ludwig `Lud´ Gluskin who made quite a career in Germany from about 1923 until 1935.


It was at that time that the black player, Louis Armstrong (one of many) rose to prominence. He had a particularly earthy, full tone, a fabulous technique and extraordinary abilities as a showman. He quickly rose to prominence and ended up being the most admired musician in Jazz music, world-wide.


Whether this was or is justified is another question. I don’t think so, but it’s a fact none the less. Armstrongs playing and phrasing influenced many trumpeters who heard him. He founded a quintet and then a septet of outstanding black musicians, including a woman piano player by the name of Lil Hardin.


Lil Hardin, a talented pianist and a nice looking woman according to the photos extant, not only filled Armstrong’s piano chair but apparently his heart as well. They eventually got married. In my considered opinion, it was the time between 1925 and 1930, the time of Armstrongs ‘Hot Five’ and ‘Hot Seven’ groups which saw the only creative period in the trumpeters life. Most everything afterward was either a re-hash of what he had done previously or very poor music and an inordinate amount of Kitsch. The high lights of his later music making came not from him, but from his excellent pianist, a black man by the name of Billy Kyle and a Mulatto trombone player by the name of Trummy Young. During the 1950´s and ´60´s he featured the obnoxious, obese and revolting singer Velma Middleton. That Armstrong featured her shows his inordinate lack of aesthetic values for she was truly the epitome of sight-pollution. At least her voice was semi-pleasant, similar to another horrid foul-mouthed, ill-mannered alcoholic and drug addicted paragon of black virtue, the two-bit whore Dinah Washington.


Louis Armstrong died sometimes in the 1970’s, playing until the end. He was a nice man, never guilty of the latter-day incredible racial intolerance and arrogance, almost English in its intensity, as displayed by todays’s niggah-musicians. I must use that expression, because it’s the only one that accurately describes these shaved mandrills – those who are incapable of participating in Western civilization. They personify the fact that arrogance based on ignorance is the very worst variety. That Armstrong has been vastly overrated wasn’t his fault. By all accounts, Louis ‘Satchmo’ * Armstrong, was a man of substance and one who deserved respect despite the vast amount of musical garbage he recorded  starting in the 1930’s. His marijuana smoking was known but never excessive.


            * Satchmo comes from Satchel mouth, an allusion to his ample lips. He was called this by his black contemporaries. Imagine a white man today calling a niggah `Satchel Mouth´. Oh – the screams of racism would be heard around the world. ---- As the song goes, `Don´t Blame Me´ - I am only the messenger.


It was during the 1920’s that another musical style was emerging, Chicago Style. This was a purely white musical development which started with a group of High School musicians at Austin High School in Chicago. These musicians included the two first saxophonists in Jazz, Frankie Trumbauer and Bud Freeman; also the first baritone and bass-saxophonist ever, the Italo/American Adrian Rollini who also played xylophone and later vibraphone, another first.


In addition to those, there was Jimmy McPartland, a fine cornet player who was active for about 50 years, Frank Teschemacher, the first ‘modern’ clarinet player in Jazz, Dave Tough the first really ‘class’ drummer in Jazz, pianist Jess Stacey, active until the 1980’s, pianist Joe Sullivan who proved his mettle when he sat in with the Gerry Mulligan Quartet in San Francisco sometimes in the 1970’s, the most original clarinet player of all time Pee Wee Russel and the greatest cornet player to ever put a horn to his lips, Leon Bismarck ‘Bix’ Beiderbecke. As an aside, I’d like to mention that Jess Stacey appeared at the Newport Jazz Festival in the very late 1980’s, shortly before his death and brought the house down. According to reports I read back then, the public went crazy for this ancient white jazz pianist, in an age of political correctness, this is quite something to remember!


There were many others as well. The drummers George Wettling, Gene Krupa, Ray McKinley, Ben Pollock, world famous singer Bing Crosby and Howdy Quicksell - a fine banjo player. Pollock (a competent Jewish drummer and business man, the first of many to follow) led a successful group and was as sometime employer of Glenn Miller who doubled as a trombone player and arranger.


Pianist Chummy McGregor, a college buddy of Glenn Miller´s at the University of Colorado played with various bands, until later on in the thirties he worked with the Glenn Miller orchestra exclusively. McGregor was no soloist to be sure, but a smooth sight reader and section player with a very elegant touch and a fine technique.


Both Miller and McGregor were Chicago stylists through and through, being conservatory trained musicians playing very smoothly. Jimmy Dorsey was one of the very first alto-saxophonist in Jazz and his brother trombonist Tommy Dorsey led one of the finest Swing bands later on in his career. They were both Chicago stylists initially. There’s a myriad of other white musicians, too many to mention.


A cornetist by the name of Red Nichols was around as well. He was essentially a mediocre player, but an able organizer. His musical style could best be described as having been that of a circus musician - lots of staccato, almost no improvisation and very little Jazz feeling. He founded a quintet which became uncommonly successful with the dancing crowd. This group was called ‘Red Nichols and his Five Pennies’. Nichols achieved tremendous popular success and it was for that reason that a myriad of fine Chicago Style musicians played with him – the Germanophobe Benny Goodman, Miff Mole trombone and another fine trombone player - ethnic German Glenn Miller etc. Playing for his band meant steady employment and decent income. Nichols worked until the 1960’s when he died of a heart attack during an engagement at ‘The Mint’ in Las Vegas. They even made a movie of his life. This movie was bad fiction, much like the movies about Glenn Miller or Gene Krupa or that awful, shamelessly dishonest `Lady Sings the Blues´ in which the foul-mouthed raging drug addicted and alcoholic two-bit prostitute Billy Holiday was portrayed as a paragon of virtue, an innocent victim of white racism bla, bla, bla.


The interesting thing is that these Chicago Style musicians apparently paid very little, if any attention to the black players who had come to prominence in New Orleans, Kansas City and St. Louis.  When listening to their recordings, one finds absolute individuality. Neither Jess Stacey nor Pee Wee Russel for instance had borrowed anything from any of the black players who are today incorrectly credited with having influenced everyone.


They developed their own, individualistic style. Anyone who for instance claims to hear Jimmy Noone (a fine black clarinet player) influence in a Frank Teschemacher solo, is tone-deaf, or a self-delusional Afro-Centrist.


The difference between Chicago Style and Dixieland is one of discipline. Whereas Dixieland features collective improvisation, Chicago Style is characterized by section-play interspersed with individual improvisation.


  • This represented a huge step forward, forming the basis for the later Swing big bands.


Chicago Style also expanded the instrumentation of the jazz band to include instruments hitherto unknown in the genre, such as the aforementioned saxophones, vibraphone and even the occasional violin. At the same time it did away with the tuba, an instrument which had featured prominently in the marching-band based New Orleans style or Dixieland music.


Bix Beiderbecke, the great cornet player was largely self-taught on both the cornet and the piano. He stemmed from a German/American middle-class background and was deeply steeped in German culture. His play was totally different from that of any other cornet player or trumpet player who had ever played and pre-dated the much later ‘Cool Jazz’ by at least 25 years. That doesn’t seem like much, until one realizes, that the development of jazz music can be counted in 7-year or even shorter cycles.


For all his musical genius and rock-solid social background Bix was an iconoclast who not only couldn’t have cared less about the black trumpet players, but apparently about anything else as well. It has been claimed Louis Armstrong had influence on him, yeah, like Bunk Johnson was influenced by a Haydn trumpet concerto.


  • There isn’t an Armstrongian element in any of Bix’s playing, at any time, in any manner, in any solo. The pitiful drug-addicted Jiggah (Jewish niggah) Mezz Mezzrow claimed Bix was influenced by Satchmo. Well now, Mezz was possibly the worst clarinet player ever to exist, a raging drug addict (so much so, a three-year period in his life `went missing´, since he spent it in a stupor in a flea-bag hotel in Harlem. While not being completely out, he obtained marihuana for his black hero, Satchmo Armstrong. Furthermore, he never once played with Beiderbecke and did not know him personally. Jazz critics who base their writings on a scum bag like that Jiggah merely prove their intellectual bankruptcy.


These and other allegations are the figments of Afro-centric music critics who seem to feel called upon to ‘hear’ an Armstrong-or-whoever-black influence in the playing of every white musician. This has been an insidious disease of jazz criticism since its inception. If these self-flagellating idiots would get away with it, they would claim Ludwig van Beethoven was influenced by Duke Ellington and Johann Sebastian Bach was Art Tatum in drag.


Bix was a rebel, who sadly developed alcoholism at an early age, never learned how to read music and succumbed to pneumonia in a New York Hotel room at the age of only 28. The dance band leader Paul Whiteman send for his body and paid for a dignified funeral in Bix’s hometown. Whiteman may not have been a great musician personally (he was a great organizer and promoter), but he was a class-act all the way and I’d love to be in a position to shake his hand and thank him. As an aside, the Whiteman band was tremendously influential in Germany, many orchestras, particularly the tremendously successful Bernhard Etté and the Willie Stech bands coming under his influence.


  • Bix Beiderbecke also improvised a piano piece entitled ‘In a Mist’. This piece is revolutionary and sounds as if it had been written by Debussy. Amazingly, it was a virtual impossibility for him ever to have heard Debussy. This places him into the genius category by any standard, far above and beyond Louis Armstrong or any other black trumpeter or musician.


The arguably greatest Jazz recordings of the 1920’s were made by the purely white Frankie Trumbauer groups, all of which included Bix Beiderbecke. These records were made between 1924 and 1926 in Richmond Indiana and are a must for any Jazz collector. Predictably, no present-day book on Jazz spends much space, if any, on these musicians and their recorded work. This is incredible considering the musical quality and importance of these recordings, for these recordings foretold of the coming movement, Swing.


The Trumbauer group consisted of a bunch of truly fine musicians and must be credited with being the forerunner of the latter Swing Jazz movement. One can say, it was a Swing Big Band ‘in development’. One of the more spectacular tunes is one entitled ‘Trumbology’ on which Frankie displays flawless technique and the band demonstrates the first instance of Swing-jazz type section play. The politically correct jazz critics are instead waxing forever eloquently about every fart ever blown by any number of black musicians, most of whom couldn’t shine Trumbauer’s shoes. Trumbauer, Teschemacher, Beiderbecke and many others were of German ethnicity.


There was another outstanding member of the Trumbauer group by the name of Itzie Riskin, a Jewish piano player who can be credited with having been the first important pre-Swing Jazz arranger. This guy wrote great arrangements and is mysteriously absent from all Jazz encyclopedias I have perused.


It might be difficult to obtain the Trumbauer sessions. I found them on a record collection, pressed by an Italian company years ago. To this very day a Bix Beiderbecke festival is held every year in Davenport, Iowa, a festival attended by thousands of faithful jazz fans from all over the world. Crowds of civilized people enjoy the music, the great American food and the genial company without violence, profanity, filth or other politically correct ‘multi-cultural’ excesses.  `Bix, Man and Legend´ is a marvelous book authored by Richard Sudhalter * and Philip Evans. No ISBN number, listed in the library of Congress Catalog and printed in 1974 by Arlington House Publishers.


            * Sudhalter´s original name was Südhalter, the `ü´ being changed to a `u´ by his father or grandfather in typically sycophantic German fashion * to suit those who hate Germans. Aside from that, besides being a writer he was a fine Chicago-style cornet player.


            * This is a terrible curse which has saddled my people since time immemorial even Tacitus mentions this disgraceful characteristic.


In the twenties, two other phenomenal musicians came onto the scene, Eddie Lang and Joe Venuti. Both were Italo/Americans, Lang’s real name having been Salvatore Massaro. It was not very wise to have an Italian name in those days. The land of `freedom and democracy´ was strangely un-democratic when it came to names other than English-sounding ones. Venuti played an exceptional violin and must be credited with being the originator of the Jazz violin, the musical ‘father’ as it were of the great Frenchman Stephane Grappelly, his German near-equivalent Helmut Zacharias and all the others. Eddie Lang on the other hand was the ‘father’ of all modern guitar players, bar none. Both were members of Frankie Trumbauer groups and especially Langs work is featured prominently on many cuts.


Neither Venuti, nor Lang have been given proper credit for their pioneering work in the literature on the genre of today. They are only grudgingly admitted as having existed. As far as the great German violinist Helmut Zacharias goes, he isn’t even mentioned, despite some of the excellent recorded work of the early war years * still existing. But I am getting ahead of myself. Venuti incidentally was an actively working musician who recorded some great stuff with a group of fine Italian Jazzmen as late as the 1980’s as well as with English pianist extraordinaire George Shearing!


            * His work in the 1950´s was sweet, along the lines of a Hugo Winterhalter band, non-jazz related. It paid well; he became hugely successful all over Europe, even worldwide.


  • It was Bix Beiderbecke who together with Eddie Lang and Frankie Trumbauer formed ‘The Three-Piece-Orchestra’, the first ‘chamber-Jazz’ group to ever play. Their recorded work consists of only about 10 minutes but is proof positive that while black musicians, including Duke Ellington, were delighting in ‘jungle sounds’ *, these three white guys played things on a level of civilization, their black counterparts couldn’t even begin to fathom.


* An American saying has it, that `you can take the blacks out of the jungle, but never the jungle out of the blacks´. Anyone who doubts the veracity of this should live in South Chicago, or downtown Detroit, or East St. Louis, or in Philadelphia, or Atlanta, or New Orleans or, South Central Los Angeles, or Hunters Point in San Francisco, once lovely (Long ago and far away) Germantown or Oakland Ca. as well as in any other of the myriad of American sewers. Where there are blacks, there is social breakdown, there is mayhem, there is destruction and an overwhelming amount of violent crime. Invariably, always, everyplace, without fail!


Another fine white player who made his appearance in the 1920’s was the Russian immigrant Art Hodes, who played some of the finest and most original piano Jazz of the period. Hodes was one of the comparatively few non-Jewish immigrants from Russia in those days. It has been claimed that he was influenced by the Creole Jelly Roll Morton, which is poppycock. I have listened intently to his work and can find only minor, peripheral influences, if any at all. He was quite original. Even though his style is of course dated, one can easily listen to him today and find his work entertaining.


And then there was Hoagie Carmichael. He was an alumnus of Indiana State University who was a great non-Jewish song writer of the period.* Aside from that, he had a pleasant singing voice, was a good pianist, an actor and a sometime band member of the Trumbauer/Beiderbecke groups. Hoagie was musically active until the middle 1940’s and appeared as an actor in many Hollywood films as well.


* The reason I mention this, is that the majority of great song writers of the early part of the 20th.Century were Jewish. In fact one can say all with the exception of Carmichael and the inordinately elegant and sophisticated Cole Porter, a man who contributed a huge amount of themes to the Jazz library, albeit unwittingly, for he disliked Jazz music. This is strange since his songs are invariably extraordinary vehicle for instrumental improvisation --- but not to digress.


Hoagie has written some of the finest songs of the period, such as the beautiful ‘Georgia’, ‘Buttermilk Sky’, ‘I’m gonna sit down and write myself a letter’, ‘Rockin’ Chair’, or ‘Stardust’ amongst many others.


This entire Chicago Style group spawned some of the greatest guys to ever play Jazz, including some who became tremendously successful later on, such as the Dorsey brothers or Glenn Miller. The development of white Chicago Style culminated in Swing, around the year 1935. Even though one will not find this assessment in today´s politically correct `blacks created everything´ - (even though they demonstrably never even developed the ability to dig for water) jazz literature, it is an inescapable conclusion. Even Afro-centric Leonard Feather alludes to this in his encyclopedia without ever having the moral courage to state it outright; as Emmanuel Kant said. `All cowards are liars.´ ---- As the song goes, `Don´t blame Me´ - I am only the messenger! 


During the 1920’s several black sub-movements developed in Jazz. ‘The Blues’ which in turn spawned the ‘Boogie Woogie’ craze. Each one of these deserves separate treatment, actually outside the scope of this essay, but I will touch on these movements nevertheless, since some wiggers (white niggahs) attempted to participate, usually with predictably dismal results.


‘The Blues’ was the profane version of Gospel singing. Its greatest practitioners were Bessie Smith and Ma Rainey. In order to give you an idea what it was all about, the lyrics of one of the most famous Bessie Smith blues was --- Put your hot dog in my bun-----. Ha – what a great idea! Those `ladies’ didn’t beat around the bush! Another blues singer of note was Bertha `Chippie´ ´Hill. Practically all black blues singers were prostitutes who when not singing were entertaining clients with their feminine charms. This is not defamation, merely historical fact and this writer is in no way a puritan defaming the character of anyone who needs to do whatever they can in order to eat. The social reality for black women in those days was often times dismal and they did what they had to do. Bessie Smith died as the result of an automobile accident deep in the rural American south. It is still claimed in Jazz encyclopedias today that she died because a ‘For Whites Only’ hospital let her bleed to death on the street.


  • That is a bald-faced lie which has for decades made whites feel guilty for being white.


The truth is that the accident took place in 1938 in the deep rural south. By the time she had been delivered to a small hospital far removed from the scene of the accident, she was already dead. 


  • No One ever denied her care.
  • No One ever denied her access to a hospital,
  • No One ever denied her transportation.
  • Her internal injuries had been so severe, that she would have probably died even with the medical knowledge of today, even had she been delivered to an emergency room within minutes. This can easily be determined by any qualified physician examining the autopsy report, available to this day. Source - `Bessie´ written by Chris Albertson and published by Stein & Day publishers.
  • Yet, white Jazz critics mindlessly repeat the white bashing, defamatory myth. It had been planted by the black members of her own band, in an exercise of Afro dishonesty, a racial feature, seemingly a genetic defect even, well known to those of us who have had extensive business dealings with these Ersatz-people throughout their lives!

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