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158 unknown to me ten days before the moment of writing; I do not know if it represents a Southern negro or a Welshman. But—if he has composed anything, if Runnin' Wild isn't a direct transcript of a negro devil-tune—he is in the school of the negro composers and he has accomplished wonders already. For Runnin' Wild is a masterpiece in its genre. Note the cleverness of the execution: the melody is virtually without accompaniment; it consists of groups of three notes, the interval of time being simple and the interval of pitch in the group or between two successive groups, is quite conventional. Once three groups of three notes are played in succession; toward the end the group is twice lengthened to four notes; the orchestra is heard after each group has been sung, giving an unnerving effect of alternating sound and silence. But there is something more! There is the complete evocation of the two negro spirits—the darky (South, slave) and the buck (Harlem); the negro and the nigger. It ends with a shout which is lyrical and ecstatic at once, wild and free. It is an enchantingly gay piece, it expresses its title—one sees our own Gilda Grey stepping out in it bravely; it is, in a way, a summary of the feeling of negro music which Shuffle Along and its followers restored to prominence.

More must be said of the negro side of jazz than I can say here. Its technical interest hasn't yet been discussed by any one sufficiently expert and sufficiently enthusiastic at the same time. In words and music the negro side expresses something which underlies a great deal of America—our independence, our carelessness, our frankness, and gaiety. In each of these the negro is more intense than we are, and we surpass him when we combine a more varied and more intelligent life with his instinctive qualities. Aggravatin' Papa (don't you try to two-time me) isn't exactly the American response to a suspected infidelity, yet it is humanly sound, and is only a little more simple and savage than we are. The superb I'm Just Wild About Harry is, actually, closer to the American feeling of 1922 than I Always Dream of Bill, as expression it is more honest than, say, Beautiful Garden of Roses; and He May Be Your Man is simply a letting down of our reticences, a frankness beyond us.

I shift between the two teams, Sissle and Blake, Creamer and Layton, uncertain which has most to give. Sissle and Blake wrote Shuffle Along; the others accomplished the intricate, puzzling rhythm of Sweet Angelina, one or two other songs in Strut Miss