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By Robert Crunden

During this e-book Robert Crunden places the "jazz" again within the Jazz Age. Jazz used to be America's maximum contribution to the Modernist stream, but it's a lot missed. once we listen the time period "Jazz Age," we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, now not Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. to be able to right this imbalance, Crunden re-introduces us to those musical luminaries who gave the period its identify as he lines the early historical past of jazz from New Orleans to Chicago to big apple. whereas Crunden emphasizes tune over literature and the visible arts, he by no means fails to map the advanced cross-currents of literature that handed among jazz musicians and their "Lost iteration" friends, a veritable festival of the glittering personalities of the day-James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.

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28 T h e fourth painter to attract extended attention was John Marin. Rosenfeld bought a Marin work in 1919 that he found "magnificant. It is almost too splendid for my room," he told Robert M. Crunden 23 Stieglitz. He apparently had little or no personal contact with the painter, although he did note Marin's growing fame in a 1923 letter. In print, he placed the artist in the tradition of James McNeill Whistler, and clearly did not much admire the results. By 1915, the modernist Marin was beginning to emerge, and he was soon the great purveyor of the way the eye perceived movement.

Writing in 1921, Rosenfeld found that the group as a whole had "authenticity" but little that was technically new. " T h e y loved taking clear, strong, and conventional melodies into a "meshwork of acid, piercing polyphony. " At this time in his life, Rosenfeld was no friend of popular culture. " T h e performing groups were small, the duration of the works brief, and such was all to the good. At times, making "the sign of the thumb and nose" was appropriate. But he was clearly squirming. "This music is at once charming and ill-mannered, gay and bitter, simple and scurrilous.

Common enough among creative people, such a wish often scatters leaves over a tangled bank of ancestors even more complex than most conventional genealogies. Varese had a great many ancestors, some of them improbable, and all of them had consequences for his later role in American modernism. 8 He was the offspring of an unhappy family. He hated his father, who tried to prevent his musical career and push him into engineering. Part of his heritage was Italian and for business reasons his father forced him to live in Italy, a country he disliked, in Turin, a city he regarded as culturally dead, in thrall to the past.

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