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218 Anthropology, or of the ganza ceremony so brilliantly depicted in Maran's Batouala. But jazz time is faster and more complex than African music. With its cowbells, auto horns, calliopes, rattles, dinner gongs, kitchen utensils, cymbals, screams, crashes, clankings and monotonous rhythm it bears all the marks of a nerve-strung, strident, mechanized civilization. It is a thing of the jungles—modern man-made jungles.

The earliest jazz-makers were the itinerant piano players who would wander up and down the Mississippi from saloon to saloon, from dive to dive. Seated at the piano with a care-free air that a king might envy, their box-back coats flowing over the stool, their Stetsons pulled well over their eyes, and cigars at an angle of forty-five degrees, they would “whip the ivories" to marvellous chords and hidden racy, joyous meanings, evoking the intense delight of their hearers who would smother them at the close with huzzas and whiskey. Often wholly illiterate, these humble troubadours knowing nothing of written music or composition, but with minds like cameras, would listen to the rude improvisations of the dock laborers and the railroad gangs and reproduce them, reflecting perfectly the sentiments and the longings of these humble folk. The improvised bands at Negro dances in the South, or the little boys with their harmonicas and jews'-harps, each one putting his own individuality into the air, played also no inconsiderable part in its evolution. “Poverty,” says J. A. Jackson of the Billboard, "compelled improvised instruments. Bones, tambourines, make-shift string instruments, tin can and hollow wood effects, all now utilized as musical novelties, were among early Negroes the product of necessity. When these were not available 'patting juba' prevailed. Present-day 'Charleston' is but a variation of this. Its early expression was the 'patting' for the buck dance."

The origin of the present jazz craze is interesting. More cities claim its birthplace than claimed Homer dead. New Orleans, San Francisco, Memphis, Chicago, all assert the honor is theirs. Jazz, as it is to-day, seems to have come into being this way, however: W. C. Handy, a Negro, having digested the airs of the itinerant musicians referred to, evolved