When it comes to early awareness of the importance of jazz, the Europeans definitely have it. I remember going to the U.S. Information Service library in Copenhagen around 1949, looking for anything that might feed my newfound hunger for jazz. I did find a couple of books, but the record collection—a large room behind an „American Music“ sign—contained only one jazz item, a Keynote album containing 2 Lennie Tristano discs. I took it home and liked it as much as I did Bessie Smith and Jelly Roll. I should mention that there also was, tucked away in a corner, a Library of Congress recording of Bozi Sturdivant singing „Ain’t No Grave Can Hold My Body Down.“ Not jazz, but I think European ears heard the music and were less concerned with labeling it—at least that was so in my case, if it was good, it was good, no matter what you called it.
I recall reading in Danish papers early 1930s reviews of Sam Wooding’s first Copenhagen concert. The critics were the regular ones (i.e. classical music press) and they were overwhelmed when they recognized „Du holder Abendstern“ from Tannhauser (Sam was a clever one). One critic labeled it „blasphemy,“ but added that he loved it.
When it comes to pioneer promoters, think of Ernest Ansermet, Robert Goffin, Panassié, et al. When it comes to recording, think of Sam Wooding in Berlin and Barcelona, Coleman Hawkins in Paris and Hilversum, then think of all the important European labels that captured great postwar jazz. Of course, when it comes to jazz recordings, no country can beat the U.S., but Europe has been an essential part of promoting and preserving the music, from reissues to new recordings.
That said, Japan has done its part, too.
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