Nazi Rules For Jazz Performers

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While I have been mostly writing about food, I did not intend this column to be solely on the culinary arts. Could not help but post this gem sent to me by a former bandmate. Now, I did not write this, and I certainly cannot subscribe to rule #10.

 

Nazi Rules For Jazz Performers

Josef Skvorecky on the Nazis’Control-Freak Hatred of Jazz.

Famed Czech radical Josef Skvorecky recently died at 87 in his adopted land of Canada. J.J. Gould remembers Skvorecky through his memoirs, including a detailed list of the rules for jazz performers during the Nazi occupation. The Reich’s Gauleiter for the Nazi Protectorate of Bohemia and Moravia issued a 10-point regulation that Gould calls “the single most remarkable example of 20th-century totalitarian invective against jazz.”

1.   Pieces in foxtrot rhythm (so-called “swing”) are not to exceed 20% of the repertoires of light orchestras and dance bands;

2.   In this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;

3.   As to tempo, preference is also to be given to brisk compositions over slow ones (so-called “blues”); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called “breaks”) be tolerated;

4.   So-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called “riffs”);

5.   Strictly prohibited is the use of instruments alien to the German spirit (cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called “wa-wa,” “hat,” etc.);

6.   Also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);

7.   The double bass must be played solely with the bow in so-called jazz compositions;

8.   Plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;

9.   Musicians are likewise forbidden to make vocal improvisations (so-called “scat”);

10.  All light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.