During the FMP years of the latter 1930s, the CPUSA Popular Front was making an effort to dance with swing, the new sensation, which is a radical departure from the usual Soviet position on vernacular music, particularly in its American iterations. The Soviet aversion to jazz and particularly to the saxophone, for example, could be stunningly acute. There was an unsuccessful effort to ban the saxophone in the Soviet Union in 1929, followed in the late ’40s, when Stalin had concentrated his power, by a concerted effort to ban this horn of “capitalist music,” which resulted in the confiscation of instruments, the imprisonment or exile of musicians, and saxophone parts in works by Ravel and Prokofiev and others consigned to bassoons and the like.
As David Stowe tells it in Swing Changes: Big-Band Jazz in New Deal America,
Before the redirection of policy under the Popular Front, jazz and most other popular music had been regarded as ideologically suspect by the party both in the Soviet Union and the United States; noncommercial rural folk music and protest songs were perceived as the “correct” radical music. . . . Given the party’s desire to recruit members of oppressed groups such as African-Americans, this dismissal of vernacular music resulted in a dissonance between the party leadership and its rank-and-file organizers. The more tolerant, inclusive atmosphere that prevailed in the party after 1935 led to a number of Communists, including writers for the Daily Worker, to express enthusiasm for both “traditional” jazz and swing. The popular music of the big bands came to be seen as an important vehicle, along with black theater, literature, and professional sports, for promoting the idea that African-American culture was integrally American, quintessentially democratic and progressive. (p. 65)
Stowe goes on to note an article in a 1939 Young Communists League publication that even managed to work the utterly specious “democracy” of jazzocracy into its analysis:
“There is a good deal of audience participation in swing, a kind of give and take and mutual inspiration for the musician and the crowd, a rough democratic air invading the sacred halls of music.” Another writer stated bluntly: “Jazz is the music of the American proletariat. If Negroes have been more prominent in its development, it is because more Negroes are proletarians.” (pp. 65-66)
Well, 1939 was also the year of the Hitler-Stalin pact.