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Rh Abbie Mitchell, Ethel Waters, and Florence Mills; the Blues singers, Clara, Mamie, and Bessie Smith; Eubie Blake, the pianist; "Buddy" Gilmore, the drummer, and “Bill” Robinson, the pantomimic dancer—to mention merely an illustrative few—are inimitable artists, with an inventive, improvising skill that defies imitation. And those who know their work most intimately trace its uniqueness without exception to the folk-roots of their artistry.

Musically jazz has a great future. It is rapidly being sublimated In the more famous jazz orchestras like those of Will Marion Cook, Paul Whiteman, Sissle and Blake, Sam Stewart, Fletcher Henderson, Vincent Lopez and the Clef Club units, there are none of the vulgarities and crudities of the lowly origin or the only too prevalent cheap imitations. The pioneer work in the artistic development of jazz was done by Negro artists; it was the lead of the so-called "syncopated orchestras” of Tyers and Will Marion Cook, the former playing for the Castles of dancing fame, and the latter touring as a concertizing orchestra in the great American centers and abroad. Because of the difficulties of financial backing, these expert combinations have had to yield ground to white orchestras of the type of the Paul Whiteman and Vincent Lopez organizations that are now demonstrating the finer possibilities of jazz music. "Jazz,” says Serge Koussevitzky, the new conductor of the Boston Symphony, “is an important contribution to modern musical literature. It has an epochal significance—it is not superficial, it is fundamental. Jazz comes from the soil, where all music has its beginning.” And Leopold Stokowski says more extendedly of it: