In the evening we were invited to a concert on the seashore by what was called the Tiflis jazz orchestra. In a little band shell beside the beach, the orchestra took its place, and it played its version of American jazz—“Shine,” and “China Boy,” and “In the Mood”—always “In the Mood.” When Capa and I came in to the concert, we were given huge bunches of flowers to hold, and we felt a little silly. Neither of us is quite the type to listen to a concert peering over the edge of fifteen pounds of gladioli. They were big bouquets, and there was nothing we could do with them. We couldn’t put them down, we had to peer through the spikes of flowers at the orchestra on the platform.

We realized why they could not play American music well. Our swing music is invented and improvised. The musician puts himself and his imagination into his playing, whereas this Russian orchestra slavishly imitated records that it heard, and such records are not imitatable. If they wanted to play swing music, they should have taken perhaps the theme of “Dinah” and improvised on it, in which case they would have had music. It wouldn’t have been American swing music, but it might have been Georgian swing music.

It was with relief that the orchestra turned to its own music and played the wild dances of the Georgian hills. And we were relieved too, because they were at home, and it was music. And after it was over, the leader and several of the players came back to the hotel with us to have dinner. The leader was a wiry, enthusiastic man, and with our Tinker to Evers to Chmarsky translation we tried to tell him about the background of American swing, how it had developed and what it was. He was fascinated with its theory, and he and his players would break into explosive explanations in Georgian. The idea that around a simple melody the musicians became creators of music, not to be written down, not to be preserved, but simply to be played, was new to him. And as he and his players listened, they grew more and more excited about the idea. We told them there was no reason why an American theme should be used. A Georgian theme with the same improvisation would be just as good, and probably an idea that they could better carry out. After a while they jumped up, and said good-by, and left us. And we imagine that somewhere in the night, on the shore of the Black Sea, there was some wild experimenting with improvisation in the American manner.