November 28. 1957 35c SINATRA OL' own Bow He Plans To Seek Success eat In Television
Vs *' I pWi t ** V */ the BIG name for exciting and important jazz records . . . RIVERSIDE
munigar i monk
MULLIGAN mwh MONK (13 HELONIOUS MONK and GERRY MULLIGAN in a liants. Each a major creative force in his own school ere in a fabulous blowing session that's certain o
E has n
TERKX QUINTET
KENNY DORHAM (12-239) CLARK TERRY Quintet (12-237 Jazz Contrasts: The brilliant trumpet star playing swing Serenade to a Bus Seat: A stand-out album of relaxec ers (with Sonny Rollins) and ballads (with harp). and earthy jazz. With Johnny Griffin, Wynton Kelly
THELONIOUS HIMSELF: KENNY DREW: This Is Now MUNDELL LOWE: Grand BOBBY JASPAR, tenor and Unique solo piano perform —"hard bop" at its swinging Night for Swinging—top gui flute—swinging new star ances by this titan of modern best. With Donald Byrd, tar in a driving LP, with from Belgium. With George jazz. (12-235) Hank Mobley. (12-236) Billy Taylor. (12-238) Wallington. (12-240)
GIGI GRYCE 1 C
COLEMAN HAWKINS: JAZZ a la BOHEMIA: Randy GIGI GRYCE Jan Lab 5— HERBIE MANN: Sultry Sere Hawk Flies High — still the Weston Trio, Cecil Payne "cooking . . . the results are nade—rich, warm sounds led Ling of tenors; with J. J. recorded "live" et Cafe fine," says Ralph Gleason. by the outstanding jazz flutist. Johnson, Idrees Sulieman. Bohemia. (12-232) With Donald Byrd. (12-229) (12-234) (12-233)
HI-FI RIVERSIDE RECORDS 553 WEST 51st STREET NEW YORK I?
chords and discords
Help! . Airtime costs money, and it is the MARK Murray, Utah sponsor who picks up the tab. Any To the Editor: prospective sponsor, once convinced that his sponsored show will sell hi* It :«ems most issues of Down Beat product or service, will rush to buy play the contain some reference to the deplor time on that show. And here we come ably little jazz to be heard on the air. to the crux of the problem: the pro Could be my experience is not unique. gram director must have confidence in 1 play 18 hours of jazz a week on a his presentation and he must imbue hie station serving a market area of some sales force with this coniidence,, and, 500,000 listeners. That’s exactly nine thus armed with the quality and mar times the sum total of all jazz offered ketability of what he has to sail, the by the eight other stations in town sales personnel can book the show solid when the combined. For two years, I’ve been try with sponsors. But, and this is the ing to get music to play from people whole thing in a nutshell, the program who record or distribute it. If it director must believe! FRED WARING weren’t foi the juggling of a lone dis Unfortunately, however, the radio tributor salesman, I’d De playing the industry today, except for isolated ex concert tour Welk game. ceptions, is divest of program directon comes to your town A recent letter from a jazz company with imagination and the courage of noting that it had come to their atten their own conviction.. ..guts. The only CHECK THESE TOUR DATES tion that 1 was in their words, “TrlE thing which concerns them, for reason* jazz disc jockey in the Utah area” of of job security obviously, is ratings. fered to sell me a line at a generou October IS CAST LIVERPOOL« OHIO • Memorial Quality be damned, up with the ratings Auditorium price. This is a little unrealistic. My The “Toi 40* that blares incessantly October 11 PITTSBURGH. PfNN. • Mosque Auditorium show, like all jazz shows I’ve known, is October It BALTIMORE. MÖ • LyrR Theatre on New York radio is a plague on the October 13 WASHINGTON. D. C. • Constitution Had a labor of love. We pay our way, but ears of the listener. October 14 ROCHESTER. N. Y. • Eastman Theatre we’re not fat. I cannot afford to buy October IS ATLANTIC CITY. R. J. • Warner Theatre Ulanov asks if any disc jockeys have October IT WASHINGTON. D. C. • Private Performance all the music necessary to sustain an ideas on how to overcome this ridicu (White House) 18-hour weekly show. Oclobar <• NEW CASTLE, PENN • S< ottot- Rite lous situation—well, I have u couple of Cathedral Oddly enough, Columbia, whose ideas. All you jazz lovers who might October It CLEVELAND.I OHIO . Music Hall strongest identification is not neces October it COLUMBUS,I OHIO * Memorial Auditorium be reading this letter of indignation, October tl LOUISVILLE.I KY. * Exposition Center sarily with jazz, now sends me their stir from your apathy, take pen in October tt URBANA,I ILL. • Huff Auditorium jazz catalog, Goa bless ’em. They must hand and register your acute displeas October t3 EFFINGHAM.I ILL. • St. Anthony Gymnasium October M OTTUMWA«< IOWA • Evant Jr. High School have com^ to the realization that jazz, ure with these same program directors. Auditorium like almost anything, can be aggres OctobortS LINCOLN.I NEBR • Pershina Memorial Tell them that you want to hear somr October t? ABERDEEN.■ 6. D. • Aberdeen Arena sively merchandised That it is not jazz on the air. October tt IBISMARCK. N. D. • Memorial Auditorium enough, even in these times, merely to Secondly, I hope that some high-level Octobar 33 MINOT.I N. D. • Minot Auditorium make good music available to a public Octobar 33 BILUNGS.I MONT. • Shrine Auditorium radio executive might read this missile Octobar 31 1SPOKANE, WASH. • Spokaw Collwum clamorously eager to buy trash. and awaken to the fact that doing ex November 1I SEATTLE. WASH »0 Tt.aato I sympathize with the executive try I FORTLAND, ORE • Public Auditorium actly what every other station is doing November 3I SEATTLE. WASH. • Civic Auditorium ing to cut cxjienses. But when most can only bury him in the miie of an November 4 CORVALLIS. ORE • GUI Col.Mum stations are playing the “Top Slop,” in onymity. C’mon you program director: November S EUGENE, ORE. • MacArthur Court Auditorium November T SAN JOSE. CALIF. • Civic Auditorium a concerted and, it would seem, an ever and executives, wake up to the fact November t BERKELEY. CALIF. • Berkeley Community most successful attempt to subvert and Theatre that all a quality jazz show can do for November t FRESNO. CALIF. • Roosevelt Auditorium debauch American taste in music, sure you is enhance your listening audience FRESNO, CALIF. • Roosevelt Auditorium ly the cost of following Columbia’s lead November 1t BAKERSFIELD. CAUF. • Harvey Auditorium Mort Fega November 13I SAN BERNARDINO. CAMF. . California in sampling those jockeys who are giv Theatre ing jazz extensive exposure would be November 14 BALM SPRINGS. CAUF. • Polo Field Write, Right? . November 1S> PASADENA, CALIF. • Civic Auditorium negligible. November ISI LOS ANGELES, CAUF. • Philharmonic This letter column may help I hope Milford, Conn. Auditorium To the Editor: November ITr SAN DIEGO, CAUF. • Ruaa Auditorium so, oi another jazz show won’t last the November It> TUCSON, ARIZ. • University Auditorium year. Reading Barry Ulanov’s column on November ItI PHOENIX, ARIZ. • Phoeni« Coliseum Wes Bowen November tl EL FASO. TEXAS • Liberty Hall the numerous disc jocks who play noth I ALBUQUERQUE. N. M. - University Field House ing but the Top 20 trash, 1 was struck i LUBBOCK. TEXAS * Coliaeum Confused with one thought. It’s true that the I DENVER. COLO. • Arena radio today is saturated with the same November ISi PUEBLO. COLO. • Memorial AudRorium New Rochelle, N.Y. L horrible tunes and non-talented singers November 33 TEXARKANA. U.S Jk. • College Auditorium To the Editor: all day long. It’s also true that there November tt DALLAS. TEXAS • City Coliaaum November 33 HOUSTON. TEXAS * Muaic Hall After reading Barry Ulanov’s col is very little good jazz or instrumental December 1 EGLIN AIR BASE. FLORIDA umn of Oct. 17 for the fifth time, I music played by groups or big band* COLUMBIA. S. C. December 3 ATLANTA. GA. • Municipal Auditorium must confess my confusion. Upon whom । >n the radio. But does it have to re December 4 8TATEi COLLEGE. MISS. • Mississippi Stale does Barry place the onus of responsi main that way? My answer is “no, it Auditorium December 3 'TUSCALOOSA. ALA. • University of Alabama bility for the appalling lack of jazz on doesn’t,” and that we Down Beat read Auditorium the radio, the disc jockey? If this be ers are partially responsible for thi« December t FLORENCE. ALA. • Goffey High School Fr December 1 KNOXVILLE.i TENN. * Memorial Auditorium the purpose, he ii deluded. sorny situation. Decembers .JOHNSON CITY. TENN. • Gymnasium Inasmuch as his column deals almost I know enough of these guys to be nn Decembers 1RALEIGH. N. C. • Raleigh Memorial Auditorium exclusively with the influence the disc lieve that if they received mail that oil December It SAVANNAH. GA. • City AudRorium jockey has upon the listening habits of requested good music in the jazz or big December 11 TALLAHASSEE. FLA. • Gymnasium po December 1t GAINESVILLE. FLA. • Florida Gymnasium the radio audience, I must assume that band field, they would insert some. December 13 ORLANDO. FLA. Ulanov is putting the jockey down. As Now just suppose every Down Beat "F December 14I DAYTON A BEACH. FLA. • Peabody Auditorium a disc jockey who spins only jazz for reader were to buy a dozen post cards fai > FT. LAUDERDALE. FLA. • Ware Memorial his listeners, I feel compelled to speak and sit down and write each station on Auditorium va I NAVAL AIR STATION. PENSACOLA. out in defense. theii respective dials. It would work, Certainly, Ulanov is not so naive as my friends, and you’d soon be able to to believe that even the most dedicated find jazz on the radio and not have to jazz jockey does not have obstacles to switch the darned car radio off in dis THE LOWREY overcome in order to fulfill his respon gust as I do on my way home from ORGAN COMPANY sibility of good taste in programming work now that Al Collins has left the* music for his audience. What are these parts. ever SO year» of elertraniee in mutie obstacles? They are program director« You can du your part by sitting and high level executives! down and writing the stations now. -
Down Be* Not i it is the tab. Any convinced ill sell hi* ah to buy e we fume .* the pro- FRED WARING nfidence in . imbue hi« lence, and, AND ALL THE PENNSYLVANIANS ' and mar x) sell, the HI-FI HOLIDAY show solid his is the ie program the radio solated ex- n directors courage of Mark Laub la one of i. The only Now York's most For reason* distinguished is ratings organists and Jie ratings arrangers incessantly gue on the ckeya hav* his ridicu- a couple of who might rid igna tion, ke pen in a displeaa- a directors hear bow
> high-level his missile I doing ex an is .oing lire of an il director* o the fact can do for MARK LAUB AT THE g audience art Fega
Curd, Conn LOWREY column on play noth- was struck e that the h the same tod singers ORGAN that there st rumen tai Lincolnwood * Far Fast" Model big bands lave to re * is “no, it To be heard in 60 thrilling concerts throughout the U.S.A. Beat read- le for thi» Fred Wai ing is another in the growing list of famous It’s a thrilling musical experience to hear Mark Laub on fuys to be musicians who’ve joined the switch to Iziwrey. lie (like the Ixiwrey Organ—in person with Fred Waring or on tnail that others) was quick to appreciate its immense new musical recording in his recent Golden Crest albums. It's even jazz or big t some. possibilities. That’s why he chose a Lowrey (Lincolnwood more thrilling to create beautiful music at the Lowrey Down Beat Far East’’ model) for his home*... and why he persuaded keyboard for yourself. It’s easy, too, for the Lowrey post cards famous organist Mark Laub to accompany the Pennsyl is the simplest of all organs to learn and to play—and i station o# ould work, vanians as featured Lowrey organist on their tour this fall. the most rewarding for the beginner. be able to lot have te off in dis LOWREY HAS A MODEL FOR EVERYONE home from a left these THE LOWREY ORGAN COMPANY by sitting over 30 yean of tletlronici in mueie ins now... 7373 N Cicero Avenue, Lincolnwood. Chieego 30. Illinois
November 28, 1957 complain abou this top 20 or top 40 should realize re Armstrong's per would more inspired and trash you art forced to hear all the formance at Newport in '57: tasteful, And regardless of how the time, Suggest ¡ome bands and groups Louis contribution to jazz is undeni deal was set Armstrong sh iuld you'd like to hear. A few sentences will able: for that very reason, the many have had the decency and common do it. Try it...don’t be lazy. If you be who have come to respect and even sense to live up to it. The entire fiasco lieve in the music (and if you read idolize him expect more than shoddy did his name no good and undoubtedly Down Beat, you do), then write today vaudeville from such an esteemed disappointed many’ of his admirers. Ed Mulford artist. Louis’ standard repertoire may be good enough for nightly gigs, but’peo Help. Help! Armstrong's 57 years are irrevelant, Spartanburg, S. C. considering' that Ellington is 58, Haw ple come to New’port to hear the artist kins is 53, Basie is 53, and the vener put on his best performance. It’s also To the Editor: able Ory will soon be 71. Why should pretty absurd to argue for an artist on As a disc jockey, I find myself cater his age be an excuse when others of 13 basis of how successful he is or ing to the record buying public whose his years are still playing as well as
Smoother playing, faster action
Why not visit your nearest dealer see and hear for yourself
Down Beat )ired and how the ig should I common tire fiasco nioubt»dly
may be , but peo- the artist . It’s also i artist on
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I isn’t too itrong live ion. If he md in his better try oes he en- ¡1 second-
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)own Beat November 28. 1957 this attitude that the entire business is corrupt to the core and there’» nothing anyone can do about it except lie dcwn and take your temperature every now ______By Dom Cerulli and then. I’m just a young fellow, and naive (or on a little to handle an agency act That may be, but I’ve met a club naif, as they say in liner rotes), but instead. owner who gave his featured artist a there are some things that I just can’t OR TAKE a jazz singer who pres Saturday night off, “because he had a A F understand. ently isn’t working again. Is his agency chance to make a few extra bucks, and ono Like, for instance, why the AFM “too busy” cutting itself in on the one- I could get a replacement.” the local in New York should establish a niters that the singer goes out and lands And I was in a tape editing room as higher scale for musicians on a new on his own? recently when a jazzman had free rein calk club opening way over on the west As I say, I’m young and full of ques m the editing of his upcoming LP N side, when there’s a lesser scale on tions. The a&r man said, “Do it the way you well an established club just as far over on Like, why is it that whenever there’« want it. You tell the engineer what you pag. the east side. The latter is larger, and a jazz presentation on TV, it almost want. It’s your album.' with busier, than the former. And it’s not inevitably turns out to be Louis Arm OF COURSE, the whole scene doesn’t as t that the owner objects to paying for strong9 1 dig Louis, but I feel there boil down to these few incidents. But his talent. It’s just that he doesn’t like are other people in jazz, too. for every half dozen octopi embracing direi to be B when others are A. Are the agencies busying themselves several aspects of the business anri jazz Another thing I can’t get through with try in sr to get some other jazz milking them, there is a straight guy shov this thick skull of mine is why people talent on TV? who makes an honest effort to be fair seen at the agencies are generally “too I don’t know. I’m just asking. because one morning he might wake up Bi busy’’ to give me information on the I did see one agency’s effort some and go without shaving in fear that can’! artists they are booking. what along that line recently. It was he might be ashamed at whom he’d e: 1 wondered recently whether one a presentation aimed at setting up a find looking at him out of the mirror. ed o agency in particular was “too busy” specta’ulai built around the music of So the beardless ones are in the mi that knocking out a pianist who had been a d°ad bandleader. nority. The important thing is they to a set for a lengthy out-of-town stand IT WAS SO AMATEURISH and exist. hanc which would have meant a good boost banal, that I shouldn't he surprised to What the point of this ramble is, 1 war" in his career. It might have beer, that seo it pop up on the TV schedule one hope, is that there are the doers and the this pianist isn’t presently with an day soon. the donc-to. There are the hustlers and or g agency, and the club owner was leaned Another thing I can’t understand is the hustled, There are the workers and ally the waiters. men Whenever the doers and the hustlers teco and the workers become the done-to form and the hustled and the waiters, wheth latte er they are agencies, personal man BIG ImanIONI DRUMS agers, dub owners, producers, account Ken men, or writers, the man in the middle who gets hit in the wallet. bam; And he’s generally the musician. recei MIDNIGHT NOTES: After catching and sets at Birdland and the Village Van hard guard and the Mannequin recently, char; visiting Jeff Kruger of London gasped. majo “Isn’t there ever any letup?” for It hadn’t occurred to me a* the time uppe that our marathon sets (Miles and they Bobby Jaspar barely off the stand at prom Birdland when Stan is up with his sellin group and wailing; Blossom Dearie to d< barely off the piano seat at the Van Play guard when Sonny Rollin’s group is “AA on, with Stan Free fidgeting in the cycle wings; and Barbara Carroll swinging tne 1 tune after tune with humor, warmth, after and feeling) are pretty standard oper WI ation here. What Jeff wondered at, m know addition to the jackhammer succession jazz 49 aides of talent onstage, was the lack of com munication between the artists and the afrai ELVIN audience. rathe Great new “comer' This is an area in which the jazz tisint when ...supplying fresh sounds man can do much to build himself as more than a peisonality who sneaks chanc to J. J. Johnson Quintet... Bu owns and plays Gretsch through his horn Horace Silver, Ruby JONES Braff, Sonny, Bobby Brookmeyer, Ger gram Broadkaster drums. ry Mulligan, and Cannonball are a few handi Talked about for his creative styling • who immediately come to mind as pro Its u cuffec —swinging beat... much depth and origi moting themselves wittily, efficiently, and quite often warmly, at the mike. It nality to “fill-ins” and solos. Gained recognition \\ listin with Miles Davis, Bud Powell groups... strongly influ In passing, I have to note that at the spots caught Miles and Bobby firms enced by several modern jazz greats. Jaspar had established a rapport at fully Influenced too, by “that great Gretsch sound”... calls his Birdland, and Bobby’s flute work wa£ «mb i delicate, eloquent, and swinging. Miles sched Broadkaster drums “finest I ever owned.” Small group—big band, LPs country’s top drum stars choose Gretsch drums. is bh'Wing with force and firmness. At the Vanguard. Sonny astounded every If Try ’em yourself at your dealer’s... see what Gretsch sound does one with his flow and taste. Don Byrd, yet li for your playing. Free for the asking—Gretsch color-illustrated who deserves the same kind of a lyri name drum catalog. Write today. cal LP that Art Farmer recently did on th for ABC-Paramount, wailed on both if st ballads and up tunes. A horn showcase them album for Byrd could do much to get better his fine sound out to a wider range of and r |«l|f I \| H Tha FRED.GRETSCH Mtg.Co . Dept.^B 117 listeners than those in the current jazz your Will» I WH 60 Broadway, Brooklyn 11, N.Y. audience. The cago Down Bex Noven usiness ig s nothing lie down very now the first chorus t a club- ______By Jack Tracy I artist a he had a A few issues back, we began running ucka, and once a month a list of as many of the country’s leading jazz disc jockeys down beat ing room as we could assemble in a feature Volum» 24, No. 24 November 28, 1957 free rein called On the Dial. EXECUTIVE OFFICE—2001 Calumet Ave., Chicago 14. III., Victory 2-0100 Publisher—Charl« Suber. ning LP. Not only has it proved to be a Esecutiva Editor—Jack Tracy; Circulation Director—Ray Holbrook. Editorial—Don Gold. Associate Editor; well-read and popular addition to these Lois Polzin Advertising—Harry P. Lytle Midwest Advertising Representative; Gloria Baldwin Production ! way you —Mary DeMat NEW YORK—370 Lexington Ave . MUrray Hill 4-18». Editorial—Dom Cerulli. Asso what you pages, it has put us in correspondence ciate Editor Advertising—Mel Mendel. Advertising Manager; Bon Rechile HOLLYWOOD—4124 Santa with a number of men who use jazz Monica Boulevard- HOIlywood 1-4005 John Tynan. Associata Editor. Advertising—Ray Comb*. ne doesn’t as the basis for their shows. ents. But And they have a problem, one which unbracing directly concerns the companies issuing ------MUSIC NEWS——------ness ano jazz records, the listeners to their An exchange with Britain in which musicians will play dubs; a benefit for Hervey Husten; light guy shows, and anyone who is interested in some happy b'ues for Big Bill; Previn's switch, and some long, long, long-playing record* are to be fair seeing jazz gain wide audience. some of the featured *torie* in the regular newt roundup that begin* on page II. t wake up Briefly, it boils down to this: they fear that can’t get enough records to play. hom he’d ENOUGH OF THEM have comment ------FEATURES—------ie mirror, ed on the situation to make it obvious that it is not just a minor irritation JIMMY McPARTLAND: A CROSS SECTION in the mi- Another in a revealing series of self-portrait* of people in music. By Don Gold. ; is they to a few jockeys. A great many are handicapped by the fact that if they FRANK SINATRA: COVER STORY mble is, 1 want to play jazz they have to rely on He’s gambling $3 million of ABC’s money he can produce on TV, too. By John Tynan. doers and the meager library most stations have stlers and or go out and buy them. I am person ART VAN DAMME: FIVE MEN. 12 YEARS rkers and ally acquainted with enough of the How the accordionist ha* managed to keep a jazz group on radio that long. By Don Gold. men who try to make a living playing e hustlers recorded jazz to know that usually the FATHER NORMAN O'CONNOR ie done-to former course is ridiculous and the Some view* on jazz and it* practitioner* from a well-known »poketman. By Dom Cerulli. rs, wheth- latter impossible. •nal man- A typical letter is at hand from JIM HALL: GUITAR TALK s, account Ken Scott, who says he’s the only jock An emerging ,far's view* on mu*ic in general, guitarist* in particular. :he middle who programs jazz exclusively in Ala bama. He writes, “As you know, we BANDSTAND U.S.A. sician. receive pop, rock ’n’ roll singles, mood, For more then a year thi* network (how ha* carried live jazz from club*. r catching and pop albums gratis. Jazz albums are FETE JOLLY: FROM PIANO TO ACCORDION lage Van- hard to come by. Most companies He'd like to help make the accordion an insfrumenf respected in jazz. By John Tynan. recently, charge a nominal fee for them. The in gasped, majority of stations frown on paying for music which doesn’t have mass ------MUSIC IN REVIEW appeal ... (At the) distributors’ level, t the time The Blindfold Test (Met Mathews) 39 Jazz Reitsue* Miles and they rely on their salesmen to do their promoting. He makes his money by Heard In Person 41 Popular Record« ■ stand at Jazz Records 25 Tape Recording* with his selling, not by calling on guys like me m Dearie to donate a jazz album and hope I’ll the Van play it. ------DEPARTMENTS group is "What the answer to this vicious ng in the Sole is, I don't know, but when I do, Book Review The Hof Box (George Hoefler) swinging e top 40 will sound like Birdland Cherivari (Dom Cerulli) My Favorite Jazz Record , warmth, after dark.” Chords and Discords Perspective* (Ralph J. Gleason) lard oper- WHAT THE ANSWER IS, I don’t Feather'* Nest (Leonerd Feather) Radio and TV (Will Jones) • red at, in know, either. It’s true many of the Filmlend Up Beat (John Tynan) Strictly Ad Lib succession jazz companies refuse to give away The First Chorus (Jack Tracy) Tangents (Don Gold) ck of com- sides to most jockeys because they are High Fidelity (Bob Cooper) Barry Ulanov ts and the afraid they won’t get played. They’d rather spend their money on adver the jazz- tising and assembling mailing lists, himself as where they feel they’ve got a better On The Cover ho speaks chance to move merchandise. Iver, Ruby But there are those deejays who pro leyer, Ger- gram whatever jazz they can get their A few years ago, he was distinctly unsuc hands on steadily. They believe in it. are a few cessful with his own television »how. Since nd as pro- Its a crying shame to see them hand efficiently, cuffed. then, Frank Sinatra has uncorked one of the the mike, It might be that our On the Dial greatest comebacks in show business history, te that at listing can be of aid to both record succeeding overwhelmingly in films, on rec firms and disc jockeys. Working care .nd Bobby ords, in person. How he plans to effect the •apport at fully through it, the disceries can as work was semble a solid nucleus of men who same comeback is told by John Tynan in his png. Miles schedule jazz regularly and expose new cover story that begins on page 15. imness. At LPs to a buying market. ded every- If you are a jazz deejay who is not Don Byrd, yet listed in On the Dial send us your Subscription rates $7 a year, $12 two years $14 three years In advance. Add $4 a year to these prices tor name, station, name of show, and hours subscriptions outside tha United States, its possessions, and Canada. Special school library rates $5.40 a of a lyri- year. Singla copies—Canada, 35 cents; foreign 50 cents. Change of address notice must reach us before jcently did on the air. Just as you request a show effective. Send old address with your now Duplicate copies cannot be sent and post office will not j on both of strength from readers by asking forward copies Circulation Dept., 2001 Calumet Ave , Chicago 14, III. Printed in U S. A. John Meher them to write the station and ask for Printing Company, Chicago, Illinois. Enterad as second-class matter Oct 4. 1737. at the post office i showcase in Chicago, III., under the act of March 3, 1877 Re-entered as second-class matter Feb 25, 1748 uch to get better music, so might you stand up Copyright. 1757. by Maher Publications, Inc., all foreign rights reserved Trademark registered U 5. r range of and make yourself counted by having Patent Office. Greet Britain registered trademark No 717.407 Published bi-weekly; on sale every ether your show listed as a jazz show. Thursday. We cannot be responsible for unsol cited manuscripts. Member, Audit Bureau of Circulation*. irrent jaz: Heun» PUB) (CATIONS; DOWN BF*T- CnilNTPY AND WESTERN JAMeORtf MUS'C '58; The address is 2001 Calumet, Chi JAZZ RECORD REVIEWS; RADIO Y ARTICULOS ELECTRICOS; BEBIDAS; ELABORACIONES V cago 16, Ill. ENVASES; RADIO Y ARTICULOS ELECTRICOS CATALOGOS. Down Beal November 28, 1957 Dowr NEW YORK JAZZ*. Tenor man Ben Webster was scheduled to re.uni to the New York xene late in October to« appear with Roy Eldtidge for a 10-day stand at the Cafe Bohemia . . . New faces in the Basie band: Snookie Young for Reunald Jone» in the first trumpet chair, Al Gray for fc ’HSL Bill Hughes in the trombone section, K and Eddie Davi« for Bill Graham in the t A smal reed section. Davis is blowring tenor, Mk conn and Frank Wess has switched to alto, weel doubling on tenor and flute. Basie cut aero his first Roulett«* LP w th Neal Hefti . .1 >t,ing, and with neu mat* rial writ- '«A - spec ' Heft Jimmy Mundy, and Ernie head Wilkins Art Farmer, Lddir Bert. with I ■ Mwn Don BuHei firl«i i
Nos ember 28. 1957 ruled paper with colored pencils; each U. S. A. MIDWEST Ball of Miami university, Oxford, Ohio. color representing an instrument or a Prof. Ball served as consultant to the I Sc amo choir. From these multi-colored lines, No Stonewall For Jackson Rev. A. L. Kershaw in his television curves, and dots, he then writes his appearances on the $64,000 Question H notes. The status of Chicago television, and Look Up and Live. He has taught Bia i The method shows the music’s form which has been largely a matter of courses in jazz at the University of his and color, he explained. He developed archaic films and mediocre variety Cincinnati and on television station it himself, after first experimenting shows recently, may be elevated soon. WKRC, Cincinnati. Hit with the charting of relatively simpler The executives of WBBM-TV, the Full information on the jazz club works, such as Beethoven’s Moonlight CBS outlet in Chicago, are considering and its varied activities can be ob It Sonata. a weekly program featuring Mahalia tained from the club, P.O. Box 55. In Jscl amo While in America on his cultural Jackson. dianapolis 6, Ind. mission for. the U.N., he made a few Miss Jackson, currently on the west A field excursions of his own. At Bird coast for film work, is reported inter No Blues For Big Bill on land, he sat in to hear sets by Stan ested in the planned format for the Big Bill Broonzy has paid his dues. Scai Getz and the Maynard Ferguson band. show, which would feature her in a New a group of singers are paying SAS His main comment was, “Why don’t community-sing, studio audience par tribute to Broonzy. ban* they play this music on the radio?” ticipation setting. Mahalia Jackson and Pete Seeger Pak Maidana said he felt every art has A decision on the program is ex will headline the program at a benefit by 1 its roots in the popular. In this coun pected when she returns to Chicago for for Broonzy to be held on Nov. 27 at T try, jazz should be flavoring our mu further discussions with TV brass. the KAM Temple, 930 E. 50th St., in men sic, and developing new colors for the Chicago. The benefit show for Broonzy, mon composer. U.S. musicians have brought The Limbo That Failed who is recovering from a recent opera and tion, will include performances by an emphasis to the use of brass in Ken Nordine, word jazz, the world B stead of strings, he commented. Muddy Waters, Little Walter, Eddie Kan of Upper Limbo, and related esoterica, Boyd, Memphis Slim, Fleming Brown, Maidana added that he felt the failed to fill the Modern Jazz room in ano Latin American influence in jazz Gerry Armstrong, and other folk sing Lea Chicago. ers in the Chicago area at the time, would help strengthen the natural The experiment, which interrupted bonds between the two nations. according to Studs Terkel, who is pro Jaz an extended string of jazz bookings at ducing the show. the club, came to an end recently. Seats in the 1,500-capacity audito A Owners Milt Schwartz and Ralph rium are $2 for the concert, which it easl Mitchell, faced with the problem of scheduled to begin at 8:30 p.m. and Lak making money or closing the room, are continue until the last singer runs out tion ready to reach a compromise with jazz, of breath. despite their previous statement about H the high prices for jazz groups. due U. S. A. WEST sho^ According to Mitchell, the room rad probably will restore the modern jazz Blue Skies will policy during the summer months of June, July, and August. Until next All year the jazz concert picture in of j southern California was cloudy. stat summer, however, the policy of the Coll room will be up for grabs, as the own Promoters ground their molars at an ers search for a format which will fill the spectacle of night after night of the bill and the club. empty seats brought insomnia instead Ii of profits. eial Dr. Flanagan, We Presume his Last month, however, the dam broke. Indi Bandleader Ralph Flanagan has Norman Granz’ Jazz at the Philhar sho' been named a “guest clinician.” monic, which reportedly had done poor oth< ly in other sections of the nation, will He will operate during the Midwest proved a magical money magnet in Elliott and Friend National Band clinic to be held at the stat Hotel Sherman in Chicago from Dec. both Los Angeles and San Diego. five New Twist 18 through 21. Flanagan will work Grabbing a near capacity >20,172 $25 Don Elliott, miscellaneous instru with the LaPorte, Ind. high school gross, JATP did right proudly at 6,700- mentalist (trumpet, mellophone, vibes, dance band, trained by Guy Foreman, seat Shrine auditorium in the season’s etc.), aired a gripe to the Conn Co. supervisor of music in the LaPorte final concert. In the border city of schools. San Diego, Trans-World Attractions last summer. brought the Granz’ package to Russ Lor Because of the shape of the mello The 11th annual clinic will present, auditorium, came out of the deal with phone, he said, the sound was aimed during the course of its meeting, nine a gross of $7,490 after pulling a ca behind him when he faced an audience. of the nation’s finest school bands in pacity audience of 2,400 fans. by For the sound to reach an audience, concert, presenting music of all levels woi Elliott found he had to turn his back of training. In addition, there will be Trans-World promoters paid Granz’ a flat $5,000 for the show, cashed in can on his listeners. And, it was virtually 12 instrumental clinics and exhibits by try’ major music companies. <>n the advance publicity JATP always impossible to blow into a mike. secures wherever the troupe plays. A He had experimented with a straight- Complete information on the clinic con can be obtained from Lee W. Petersen, out version of the huge horn, but found Final Bar and it difficult to handle. executive secretary, Midwest National will He got together with some of the Band Clinic, 4 E. 11th St., Peru, Ill. Abe Lyman, who for years headed umi Conn design engineers, and sketched the Californians, a popular dance band 12-i out some variations on the mellophone Jazz Club Has A Ball in the 1920s and ’30s, succumbed to Sar which he felt would make it a more The Indianapolis Jazz Club is mak cancer at his Los Angeles home late and practical instrument for professional ing jazz fans feel that it’s good to be in October. Hai and band use. back home again in Indiana. He was 59. cas The Conn firm got cracking, and late The club has an active group of After a successful career as a band S in October emerged with a reverse leaders and a substantial number of leader, Lyman retired from the music mu curve mellophone whose bell was below followers. It publishes a newsletter, business in the mid-’40s to direct opera mei the spiral tubing facing front. Elliott presents awards and honorary mem tions at the Mike Lyman restaurant itse blew some figures on the pilot model berships to musicians, conducts con with his brother, William. He stalled nev and declared that it had the best in certs, and features jazz scholars in lec his climb to fame in Hollywood’s Coco to i tonation of any of the four mello- ture presentations. nut Grove in 1921 with a 21-piece or J phones in his collection. This season’s opening concert spot chestra. Later, he became a Broadway non And he prevailed on Conn to allow lighted Carl Halen’s Gin Bottle Seven, figure as MC at the Hollywood restau Juc him to keep the horn for his engage a Dixieland group recently recorded by rant in New York. Pop ment at the Red Hill Inn, starting Riverside Records. Recently, the club He was also a successful songwriter, rel< Oct. 22. presented a lecture by Prof. John W. with Mary Lou, What Can I Say After NR foil 12 Down Brit Nox ford, Ohio, tant to the / Say I’m Sorry?, and I Cried for You, was inadvisable. We’ve had LP’s of ! television amo'.g others, to his credit. pop appeal before but, because of the > Question He leaves his wife, the former Rose label’s name, sales were undoubtedly has taught Blain, who once sang with his band; sacrificed. iversity of his brother, and two sisters. “No, of course we won’t slash jazz on station production,” Bock stressed, “we’ve got Hit the Road, Jack some potent ammunition in the can jazz club and this will be released in future us an be ob- It may be quite some time before the ‘Pacific Jazz Series’ of World Jox 55. In- Jack Teagarden views once more the Pacific Records.” «mog-shrouded Hollywood Hills. Forthcoming from the newly bored Arriving in Copenhagen last month barrel of Bock’s Big Bertha are vocal on the first leg of a concert tour of albums by Gary Crosby with orches Scandinavia, the trombonist told the tra conducted by Bud Shank; new vo 1 his dues SAS press service that his all-stai cal discovery Pat Healy, and David ue paying band probably will visit India and Allyn, w’ho slipped to obscurity after Pakistan on a goodwill trip sponsored a short and brilliant career with the ;te Seeger by the U.S. State Department. Boyd Raeburn band of the late ’40s. t a benefit \’ov. 27 at The Far East jaunt should com Oth St., in mence, he said, on completion of a Go, Weston r Broonzy, month’s bookings in Germany, France When Paul Weston resigned last and Italy. :ent opera- Frank DeVol looked properly beam month as west coast music director for rnnces by Big T’s personnel consist of Max Columbia Records to seek the greener ter, Eddie Kaminsky, trumpet; Earl Hines, pi ing as Rosemary Clooney presented him with a cake celebrating his suc pastures of television, he lost no time ng Brown, ano; Peanuts Hueko, clarinet; Jack in snagging a plum. folk hing- Lesberg, bass, and Cozy Cole, drums. cessorship to the job of west coast music director for Columbia Records, The composer - conductoi quickly the tim«, inked agreements with NBC-TV to ¿ho is pro- replacing Paul Weston (see story this Jazzbo Swings page). DeVol is conductor of Miss write the 60-minute Chevrolet program Clooney’s TV show. Nov. 14, plus three additional shows, ty audito Al (Jazzbo) Collins, who left the including one 90-minute sjiectacular , which it east for radio and TV work in Salt music; French songs by Françoise Pro still under discussion. p.m. and Lake City, popped back into the na- vost and Luc Poret; folk songs by r runs out As a Columbia recording artist, tion’s radio picture. Hercules; dance collections by Lenny Weston produced such albums as Thr He signed with Anime, Inc., to pro Herman and Chauncy Gray; and a pro Crescent City Suite, The Music of duce a syndicated jazz disc jockey gram of light classical music cut by Jerome Kern, and The Artistry of show which will be available to any an European orchestra, An Evening Jonathan Edwards, and also initiated radio station in the country . The show with Offenbach. the singing of Liberace and the Nor will come equipped with a basic library Upcoming on Riverside in time for man Luboff Choir. picture in of jazz records for programming by the the Christmas market will be its mam Weston’s successor, Frank DeVol, is ady. station on other spots as well as the moth production, with LPs and a book currently conductor of the Rosemary Collins segment. Jazz bo’s show will be included in the package, of Lewis Car Clooney TV show and has written un molars II» .in hour in length. night of roll’s Alice in Wonderland, with music derscores for a number of motion pic ia instead In addition, Jazzbo will record spe by Alec Wilder. tures as well as arrangements for Nat cial spots for the station to tie in with Cole, Dinah Shore, Margaret Whiting, his show. These include call letters, More To Les Kay Starr, and others. lam broke individual openings and closing.» to the • Philhar- Lester Koenig’s Contemporary Rec show, spot stock weather checks, and It's Official done poor- •ther announcements. Cost of the show ords stable was enriched last month by ic nation, will vary depending on the size of the two new talents. RCA-Victor apparently decided that nagnet in station. College stations will be offered Composer - conductor - pianist Andre rock ’n’ roll is the trend, and brought Diego. five hours a week at a basic price of Previn inked a three-year contract un in two bright young men to start creat y $20,172 125. der terms of which he will record a ing new sound.» and new hits in the y at 6,700- minimum of four LPs a year. Previn field. ie season’s is featured currently on two jazz best Jerry Lieber and Mike Stoller, com RECORDS sellers for Contemporary. My Fair r city of posers of such as Bazoom, Black Denim attractions Lady and Li'I Abner. While he will concentrate on jazz, Previn will record Trousers, Hound Dog, Jailhouse Rock, - to Russ Long, Long Plays the lyrics to Bernie's Tune, and scores deal with also for the label’s classic and popular of other r&r smashes, became artist ling a ca- Right on the heels of announcements series. by Vox and Prestige Records that they Also signed to a three-year contract and repertoire men for the label. would soon issue LPs at 16% rpm, was British vibist - drummer - pianist According to Steve Sholes, the pair lid Granz' of 24-year-old hitmakers would record cashed in came Riverside’s announcement of en Victor Feldman, who will record a try into the field of superlong play. minimum of two jazz albums a year with artists they diserwer, with artists PP always on the label, and with new techniques plays. At the start. Riverside’s output will featuring him on the three instru consist of spoken word documentary ments. Feldman’s first LP date is now for a new sound. They brought with and dramatic records. First releases in the planning stages. them some seven years f partnership, will include the Coleman Hawkins doc and experience in producing records rs headed umentary, which was released on two New Name For Pacific Jazz for labels such as Alladin, Peaoock, ance band 12-inch 33% LPs; a full version of Atlantic, Atco, Spark, and Capitol. They have done some work for RCA umbed to Sartre’s No Exit, starring Betty Field; For weeks it was an open secret in Victor with Elvis Presley. home late and Sean O’Casey’s Pictures in the H illywood record circles. Then, with the arrival in late September of new Hallway, with the original Broadway They planned to concentrate their cast. letterhead stationary and envelopes activities in r&r, and later spread to at offices of trade and music publica rockabilly, western, and pop. is u band Subsequent releases will include some tions, the rumors were confirmed: Pa the music musical ventures. But Riverside spokes cific Jazz Records had changed its •ect oper.i- men said that unless the material lends serape. restaurant itself to the ultra-long length of the New name for the five-year-old firm Ie started new slow records, it would be a mistake —World-Pacific Records. Newport Forever od’s Coco to use the new medium. Said company president and air New York—Noting that Norman L-piece or At the same time, Riverside an chief, Dick Bock, “Phil Turetsky, Granz planned to issue 14 volumes Broadway nounced the formatioi1 of a new label, Woody Woodward, and myself had of jazz recorded at the Newport od restau Judson, to retail at $3.98 and carry been thinking about this move for Jazz Festival, press agent pop, folk, and dance material. Initial over a year. We’ve long planned to shrugged wearily and told Down ingwritcr, releases include a sampler; an LP by produce more and more pop albums Beat, "So. they’ll come out on Say After NBC producer Herb Strauss, singing and we felt that, on a long range wall-to-wall LPs.’* folk music for people who hate folk basis, identification with jazz only town Beat November 28. 1957 13 Cross Section
Jimmy McPartland
By Don Gold for historical novels. If I applied my Jimmy McPartland calls the music he self, I could write better novels than plays “jazz.” some I’ve read.” “I call it jazz, because I know it isn’t Russ Columbo: “He was a real fine Dixieland. I play the way I feel right guy and played fine violin. I thought now. not the way they played it 40 he was one of the greatest singers, years ago,” he says. with such fine feeling and phrasing. As a jazz musician, McPartland has He was always considerate to musi followed a fascinating path. He was a cians; he was one of the nicest guys I part of the Austin High Gang in Chi ever worked for.” cage. He replaced Bix Beiderbecke in Aspirin : “Great, at times.” the original Wolverines. He played Iced Coffee: “I don’t care for it. I iazz on boats cruising to South Amel - prefer tea, British-style, with milk and ica. He has been a member of several sugar. My mother was born in Scot outstanding groups in the history of land; my wife is British. We have a jazz. He has headed his own group. tea household. First thing in the morn McPartland was a combat artillery ing, on goes the teapot.” man in World War II. He landed in Florence Chadwick: “The swim No mandy ("It was D plus four and 1 mer? She’s an amazing girl. I like to wasn’t playing my cornet”) and swim and I know that what she’s done marched to Germany. Transferred to is amazing.” I’m eating thoughts, and there are I SO duty, he met pianist Margaret Walter Reuther: “I don’t know some bad ones.” Turner. She became Marion McPart enough about him. It seems to me that Lovelorn Columns: “They’re good land and they became happily married. the unions are going to wind up own for the lovelorn. I imagine it does help In recent years, McPartland has ing the companies. They fight for more some people, but anyone, including me, made New York his headquarters. In and more. It’s good for the men, I could write some of those answers, addition to performing with leadin’, guess, but the public pays for it.” which are ‘sticky’, as we say in jazzmen, he has initiated an acting ca Cape Cod: “I’ve never been out Britain.” reer. His appearance on Tin- Magic there, but Bobby Hackett tells me it’s Tallulah Bankhead: “A great gal. Horn, on NBC-TV’s Alcoa Hom great. The pictures I’ve seen of it are Uninhibited extrovert and certainly a brought favorable reviews. This sum lovely. And I like fishin’.” capable actress. She’s got guts.” mer he spent five weeks in summer The Metropolitan Opera: “I’m stock, in a production of Shou- Boat. Briefcases: “It all depends what ashamed to say I’ve never seen a Met they’re carrying.” Iles slated foi a Studio One appear performance. I think opera is wonder Dart Games: “I like darts very ance on this fall’s TV schedule. ful, but I don’t frequent it. I have much. It takes a lot of skill. I learned According to McPartland, "You give great respect for the people in it, how- it in Wales during the war.” a musician a melody and he interprets ever, and their thorough knowledge of it; you give an actor a script and he music.” Milk: “I love it. I have ever since 1 does the same.” In this Cross Section was a baby. I guess I’m still a baby." Herringbone Tweed: “Nice, as long In does some interpret:ng, too, on a se- as it's fine, not large. I don’t like large Dogs: “Oh, man, I love them, too. I ies of varied topics, uis comments fitrures. I like the petite, straightfor just bought a German retriever for my follow: ward type...” grandson. I’m going to get a Labrador Ernie Kovacs: “He’s funny I like Cribbage: “I tried it once in the retriever as soon as I can, for our new his approach. It’s different. He’s a army, but too many other things were house on Long Island. I haven’t had stylist.” available to do.” one since I was a kid and now I finally Filter Cigarets: "I can’t stand can.” Leslie Caron : “I certainly like her them. I like tobacco flavor and the type. An interesting face.” British Golf Courses: “They’re filter kills all of that. It’s like smoking rough. The rough is rough over there cornsilk or worse. My morning cough Hats: “Not very often. Only for practical reasons, like rain or cold.” and the winds are tough. They have proves I smoke regular tobacco.” some of the most beautiful courses in Travelers Checks: “They’re good John Foster duli.es: “I think... Britain.” well, I think he’s doing about the best if you have money.” job under the circumstances, with the Grandma Moses: “I’m not an art Weightlifting: “Leave it to the weightlifters. I like to swim, golf, and Russians being so cute. I think he’s connoisseur. They call her primitive fish.” capable, but he’s in a rough job, trying and that’s what it looks like to me. The to out-cute the Russians.” perspective is all fouled up, like in a Cocktail Parties: “Horrible. Ev Mike Wallace: “I think he’s very kid’s drawing.” eryone is talking at the same time good. I like his straightforward ap High School Integration: “I think about nothing.” proach and I think he s a good tele integration is the way things should be Stan Getz: “I think he’s a fine mu vision man. I like him, among the con in a democracy, where men came to sician, with a real jazz beat, or ‘time’, troversial guys, because I feel he’s the worship. I believe a human being is a as the modern boys say. I can under best I’ve seen.” human being.” stand what he’s playing, because he Mystery Novels: “I never read Wiener Schnitzel: “It’s good. I plays with such taste and such a love them. I used o. but I gave it up. I like it. There isn’t any kind of food I ly tone. He’s a blowin’ boy and my don’t care too much for fiction, except can’t eat except brains, because I feel favorite.”
14 Down Beal there are y’re good does help tiding me, answers, great gal. •rtainh a nds what
ei since 1 a baby.” em, too. I ei foi my Labrador This was no ordinary rehearsal. For Frank Sinatra, this was the Big ven’t had One. It was dress runthrough of the v I finally live premiere introducing his new three-year weekly series over the ABC television network. Scheduled are 36 “They’re SINATRA: HE'S FRANK shows in all; 13 musicals, 13 dramas iver there 30 minutes in length; two hour-long 'hey have live productions. As actor, singer, or •ourses in host, Sinatra will be featured in every He « Gambling S3 Million He one of them. t to the It was an opening show which had golf, and to hit. If it missed, public reaction to the entire series might be adversely ible. Ev- Can Produce TV That9» Good affected. ame time To ABC, it represented a $3 million investment in Sinatra alone, the best I fine mu- production talent available, and, for or ‘time’, the 13 musicals, a 27-piece orchestra an under- under direction of conductor-arianger •cause he Nelson Riddle. eh a love- To the Chesterfield and Bulova watch and my sponsors, it meant booming sales or bleeding ulcers. town Beat November 28. 1957 With three million bucks of ABC’s ticulated with varying vigor. Au sud Frank and the comic ran through their money riding on his back, Sinatra was denly, the stage cleared leaving Sin repartee, scanning the teleprompter for more than usually concerned about atra alone, ready once more to run guidance only, all the while throwing production of the series. through his number. some lines definitely not in the script “What I’m looking for,” said he, “is As he was about to begin, Frank A fair indication of Sinatra’s off the the feeling of a live show in the filmed grinned, calling after worried looking cuff breeziness, and certainly that ev half-hours. The shows have got to be Bill Self, “If you see me in the same erything will be cool, follows: casual, almost understated, but always clothes on the show, don’t be dis HOPE (after goofing a line) in good taste. A family show, but not turbed.” Self laughed and disappeared “These rehearsals confuse you pretty dumb.” behind a curtain in the wings. good, y*know.” Planning the publicity phase with Ready at last for a runthrough of SINATRA: “That’s nothing, waitli advertising agency men, Sinatra told Frank’s numbers, the orchestra began the show goes on!” them, “Don’t sell too hard. Let the se an intro while Sinatra squatted atop a AFTER WATCHING Peggy Lee do ries ride a bit and it will sell itself.” stool. He glanced at script in hand and her number on one of the monitors, t THIS ATTITUDE dominated the called to Riddle across the stage, “In slight smile of appreciation quirking dress rehearsal. Tension, a key word order to save a little time, we’ll just his lips, Frank was back onstage in a on such occasions, was nowhere to be do the openings of the songs and then moment, engaged in another produc sensed. During breaks, musicians and go down to the end mark.” Then, as he tion chat with Bill Self. Sinatra production staff stood around the huge snapped his fingers in tempo, the or seemed to be everywhere at once, to auditorium of studio E munching sand chestra crashed in with the intro to have every phase of activity onstage wiches and drinking coffee. Jaws Lonesome Road. The actual rehearsal at his fingertips. One could not but chomping on ham-on-rye, Nelson Rid had finally gotten off the ground. help get the impression that he wae dle checked scores between sips, dis Sinatra is a performer with an un star, director, producer, and music su cussed routines with Sinatra, his sec usually high average of making scenes pervisor wrapped in one intense yet re tion leaders, Frank’s accompanist Bill or songs in one take. For live televi laxed being. Those close to him feel Miller, and Peggy Lee’s pianist, Lou sion this is, of course, a distinctive his interest in all aspects of produc Levy. mark of the true pro; in filming pro tion (apart from obvious monetary re In grey suit with matching fedora, grams (as well as on record dates) it sponsibilities) reflects an innate cre In Sinatra stepped down onto the audi can save plenty time and money. The ative energy, rare dynamic quality groi torium floor for an appraising look at agency man assigned to the Sinatra which has made him one of the most hot* the set. It was almost starkly simple— filniings recounted with discernible awe versatile and hottest properties in A a wide expanse of floorspace with the recent shooting of a duet between show business. thej stepped podia on right and left its sole Frank and Peggy Lee in which the To Nelson Riddle, the musician most at 1 dressing. Apparently satisfied, the sing cameras shot 900 feet of film nonstop closely identified with Sinatra since tari er monnted the stage, strolled across without need for a retake. This, said Axel Stordahl, the singer is “.. .a con tet, to Riddle, and threw a wisecrack that the adman, is standard operational stantly stimulating personality,” so far T brought a guffaw from the violin sec procedure for the singer. as music is concerned. “His musical bee1 tion. SO CONFIDENT—seemingly cocky tastes in classics go deeper, and are acct There came a brief chat with his —is Sinatra, that at the dress re on a higher level, than anyone would Sch producer, Bill Self, and Frank turned hearsal he breezed through his num guess.” and back to his conductor. He removed his bers in double time, running down only Musicians such as Buddy Collette, guif hat for an instant, quickly sciatched about eight bars of each song. Observ Joe Comfort, Ronnie Lang, Al Viola, Sch his scalp, and gestured toward his on- ing his self-assurance, one somehow or Gene Cipriano—members of Riddle’- was camera position for the first number. never considered the possibility of a studio orchestra—obviously hold Frank gro Riddle clapped his hands once, caded musical goof when the show was tele in like esteem, feeling that, above al) self to the orchestra, “Okay, here we go.” vised. else, he is a “musician’s singer.” T and poised for the downbeat. Frank’s supreme self-confidence be Fear of over exposure on a free en self gets a stream of ad libs whether he be AS SINATRA AWAITED the intro, tertainment medium scares away from ing rehearsing, on ‘live’ or making a film the cameraman, perched on the massive television many top echelon motion pic Vai take. Singing the verse of I Get a Kick V crane dolly, asked a quick question. ture actors such as Sinatra. Most rea Out of You, for example, he exagger The singer glanced around quickly, mo son that if the masses can regularly and ated the line, “Your f-f-f-f-fabulous tioned with one arm, and replied. Rid view them for free, it’s too much—and 9. i face then quipped, “That’ll empty tho< dle kicked off the intro only to run into bad business at the box office. the joint. Cops!” Into four bars of the a false start. soui chorus, then, “That’s enough, let's go NOW. IT IS UNDENIABLE that Scowling, Sinatra looked across at Sinatra is at the height of his movie T the orchestra. “Right there,” he called, nn to the next one." Goo When his guest Bob Hope appeared, career. Not only does he have starring jabbing a Anger for emphasis, “play roles in two big-budget current re figu cymbal—pow!” leases, Pal Joey and The Joker Is Wild, on 1 As the orchestra began again, Frank but his future film commitments, it is mos strolled toward the left rear podium, Bossies believed, will carry him into 1984. That » tracked by the camera crane. He Vai New York—The ad agency boys he has chosen this phase of his film mounted a few steps and began sing- at Rauazzi’s. one of their favorite career to enter the free medium of his ing. After four bars, there was an- New York haunts, are telling the television where he will be exposed other hangup. story of the ocean liner that sank weekly for three years, can only be and Song unooncluded, the singer re during a typhoon in the Pacific. viewed as a measure of the confidence job turned to Riddle at left of stage fer Everybody on board was drowned he must personally feel in his lasting "w more discussion on the troublesome in with the exception of the bass vio appeal as an entertainer. A tro. As they talked, Peggy Lee in pink linist in the ship’s band who float At the close of dress rehearsal, with Vai summer dress walked through the au ed atop his instrument for three days before he was picked up. but one hour remaining till live show ditorium, mounted the stage, and lit a Taken back to San Francisco, the time, Sinatra got a last laugh from NB cigaret. Seeing her approach, Sinatra sunbaked, bediaggled, weary mu stagehands, musicians, et al. He seized whc turned toward Peggy, made a remark sician was greeted by a battery of his hat brim with sudden ebullience per: to her and laughed, then went hack to newspaper, radio, and TV report and comically spun his fedora atop his has his discussion with Riddle. ers. Led to a microphone he was head. This euphoric gesture, more than We IN CENTER STAGE a sudden pro asked if he had anything to say. anything else, seemed eloquently to be as t duction pow-wow developed, with Sin “You’re damned right T have,” speak his attitude toward stardom or. V atra in the middle of it. Producer, as shouted the survivor. “To hell with the music business I” national television. Sinatra's out to job sistant directors, cameramen, all ges win. qui
16 Down Beat Nov ugh their mpter for throwing he script i’s off the ' that ev- a line): ou pretty This Is Art ig, wait!) jy Lee do onitors, * quirking Van Damme Has Managed tage in a r produc- To Keep Same Group Sinatra once, to / onstage On Radio 12 Years not but t he was music su- se yet re- him feel f produc- By Don Gold "In 1945, we made our first record ment. Do you know that I can’t play a letary re- ing, for Musicraft. In 1946, we joined scale on their instruments? 1 nave a In 1944, four musicians formed a nate ere- Capitol and were with it until *52. Two piano accordion. They have chromatic : quality group, for a job at Chicago’s Sherman hotel. 12' LPs and quite a few singles were accordions with three rows of keys. the most This enables them to obtain different After six months at the Sherman, issued by Capitol, including some erties in effects, chord-wise. they accepted an offer to join the staff things we did with the Dinning sisters. at NBC in Chicago. In July, 1945, gui "In ’52, we joined Columbia. Since “I’m not in a position to say a guy cian most then, we’ve cut five LPs and some sin plays good, bad, or indifferent. I appre tra since tarist Claude Scheiner joined the quar gles, plus LPs of the group with Jo ciate Joe Mooney and Ernie Felice ... a con- tet, making it a quintet. The Art Van Damme quintet has Stafford and Frances Bergen, Edgar’s more, because they play the same in y,” so far wife. Now we’re in the process of strument I do and I can follow what > musical been the same ever since—Van Damme, accordion; Chuck Calzaretta, vibes; making a 100-minute, two-LP set," he they’re doing. However, as far as I’m and are says. concerned, right now Sash and Math ne would Scheiner, guitar; Lou Skalinder, bass, and Max Mariash, drums. NBC staff As Van Damme attempts to pinpoint ews are the two finest jazz accordion the steps in his rise to success, he finds ists I’ve heard,” he says. Collette, guitarist Fred Rundquist replaced that he wanted his own group as early Al Viola, Scheiner for 1% years when the latter Van Damme is aware of the struggle as his high school years. f Riddle’s was ill. With that one exception, the for recognition of the accordion in the )ld Frank group has been making a name for it "I originally started my own group jazz field. in high school, in 1938,” he says. “My above al) self for more than 12 years. "The accordion field is a difficult one. first group had accordion, bass, and r.” The longevity of the group is, in it because it is tough to get the public to i free en- self, noteworthy. However, perpetuat guitar. In ’39 I switched to an accor accept jazz accordion Leon and Mat vay from ing the group has been the effort of dion - vibes - bass combination, when are doing much for the cause. In my Chuck joined me. I worked with that otion pic- Van Damme himself. case, however, it’s somewhat different Most rea- Van Damme, 37, studied classical group, with time out in ’40 to go with Our group must perpetuate our style, regularly and popular accordion from the age of Ben Bernie, until 1944, when I added much as Shearing has, with a definite uch—and 9. His Norway, Mich., home, during drums.” ensemble sound, in order to reach the those early days, was filled with the HIS CHOICE OF instruments, from public. Basically, I strive for more and sounds of familiar accordion music. 3LE that the beginning, was determined by the more arrangement sounds. I d say we his movie THEN VAN DAMME heard Benny kind of sound Van Damme sought to average four choruses on the tunes we ! starring Goodman. He found that many of the obtain. do on TV. Two are arranged and two rrent re- figures Goodman played could be played "As far as accordion is concerned, are improvised. r Is Wild, on the accordion. It was Van Damme’s vibes and bass join to create the fullest “When we work night clubs, we let *nts, it is most vital initial association with jazz. sound, although there is a lack of the improvised work run into several 984. That Migrating from Michigan to Chicago, rhythm. And, of course, this combina choruses and on and on for each man his film Van Damme was determined to form tion allows you to use several melodic On TV we’re limited time-wise by the edium of his own group. lines. Now, with guitar and drums, wc producer in the control room. On some exposed “I got four guys, myself, vibes, bass, have melodic and rhythmic things go days, after 16 bars I feel as if I haven’t only be and drums, together in 1944 for that ing,” he says. even begun,” he says. ionfidence job at the Sherman,” he remembers. Through the years at NBC, with the THE VAN DAMME quintet is well is lasting "We worked there for six months." limitations of staff work, Van Damm« equipped to fill night club bookings has made a definite effort to follow the At this crucial point in his career, The group has a book of 200 charts and rsal, with course of jazz and incorporate as Van Damme found good fortune. countless head arrangements. However, ive show- much of it as possible into his playing “In October, 1944, we started at NBC commitments limit the outside igh from NBC. I added guitar in July, 1945, and the group’s sound. work the group can accept. He seized when Claude joined us. Except for the "I follow jazz as much as I can,” he ebullience period when Claude was ill, the group notes. “It’s the real form of music 1 “The only club dates we have done . atop his has been intact for the 12 years since. like. My style isn’t on the new type of were in 1949, in Kansas City, Chicago oore than We’ve always had staff status at NBC, thing, although I’ve tried to change to and Milwaukee. The only other date tly to he as a group," he adds. it. My playing, I suppose, is not con was a one-week booking at the Colonial irdom on With the security of the NBC staff sidered real jazz. inn in Toronto, Canada. We followed s out to job as a base, Van Danune guided the "Mat Mathews and Leon Sash play Dave Brubeck’s group and had a ball. quintet into the recording field. jazz. But they play a different instru (Continued on Page 44) own Beat November 28. 1957 17 FATHER O’CONNOR The Priest Who Became A Spokesman For Jazz % IS
Part of the background which led to ther O’Connor. in jazz writing and broadcasting. Rev. Norman J. O'Connoi s deep in With the establishment of the an Whether it is in his column, his LP terest in music and to jazz in particu nual Newport Jazz Festivals, Father liner notes, his radio or TV shows, Fa lar can be traced back to his mother. O’Connor became a nationally - recog ther O'Connor is primarily an educa Jim Mrs. O’Connor saw to it that her nized spokesman for jazz. He MCd con tor in jazz. Most of his comments are four children had some training in certs and panels at the Festivals, and little lectures on a person or an idea H either violin or piano. since then has been on national radio in jazz. His off-the-cuff monthly lec ie g “I got piano,” Father O’Connor re and TV spots as a jazz authority. tures to Boston’s Teen Age Jazz club “1 calls. “And I kept at it through grade There has never been an objection to have been climaxed by a written exam mal school and high school. I had to give this side of his career from either the at the end of the club’s year. The re m J it up when I went to the University Paulist Fathers or Archbishop Richard sults have never failed to surprise him. gUd of Detroit, and later to the Paulist J. Cushing of Boston, under whose jur “The answers showed that the mem pul s seminary in Washington.” isdiction Father O’Connor’s church ac bers, a lot of them, had done a lot of 11 He studied philosophy and theology tivities fall. reading and listening,” he smiles. SIC at Catholic university and the Paulist “I have to use my own good sense,” He has a two-word answer for the Mu House of Studies, and was ordained a he smiles, “And discretion. Being both question: “What do you look for in gui Catholic priest in May, 1947. a priest and a ‘jazz expert’, I find that jazz?” Cie Early assignments found him Chap one helps the other. There’s a common “Personal enjoyment,” he grins. “I the lain to the Transport Workers’ union, ground between the creative artist and like listening to the music.” I and later the spiritual director of the religious attitudes. In the past, the His listening taste encompasses just An, Genesian guild, a Catholic Action or Church sponsored art. about all of jazz, except Dixieland. eisi ganization for actors and actresses. “We all have an obligation to know “I’m not overly enthusiastic about Ha Both were in New York, as was an the world. The more we become in Dixieland as we now know it. I do like 44 assignment for a parish in the San volved in the interests and concerns of New Orleans, and I thought George 1 fi Juan Hill section of New York. people, the more we love them and the Lewis was outstanding at this year’s cal His prematurely - white hair belies better we serve them.” Newport Festival.” has He has developed from an eager the fact that he is only 35 years old. He thought a long while, then con am eyed youngster who would make an He grew up in the heyday of swing, tinued, “Dixieland seems to lack form. Re all-day outing out of a visit to the Fox and he did some piano playing in local Too much of it is too repetitious.. .al to bands and groups around Detroit, his theater in Detroit when bands were though that’s true of most of jazz. But gu: playing stage shows, to a spirited home town, while a teenager. the casualness and the sense of humor wa speaker and instructor on his favorite It wasn’t until the very early 1950s that runs through jazz has become the pei pastime, jazz. that he became a spokesman for jazz dominant factor in Dixieland. The mu 4 And it is education which lies at the and began to earn a reputation as an sic seems no longer to entertain you as authority. At that time, he was doing roots of virtually all of his activities thi music, but as humor. To considerable writing and editing of “I might add, too, the poor quality of pamphlets and publications for the wa most of the Dixieland you hear today.” Paulist Press. He called on his knowl sa< edge of music, and on his memory for To the eternal query, “Where is .jazz to much of his jazz writing. From his going?”, Father O’Connor answers: a I early teens, he had been buying rec “The people who seem to be doing ords and playing along with them, and the thinking in jazz today are moving CO! reading everything he could find about very quickly into contemporary music, sp jazz. or the area of the classical composer. Hi As his interests brought him more “And this, despite the fact that we cri and more into the jazz world, and as still have Count Basie and others, and to his work brought him into contact with their derivatives. Most thinking musi a an ever-widening circle of people with cians are moving in the other direction. en problems and other people who solve “As examples, I’d cite Charlie Min hi problems, it became almost inevitable gus, George Russell, Jimmy Giuffre, that he should become a sort of clear Shelly Manne, Shorty Rogers... fo ing house for troubled musicians. “Giuffre and Mingus seem to be go ba It is as natural for Father O’Connor ing back to the roots, but mostly they bj to sit in and offer guidance to a jazz are too sophisticated for this. It’s diffi 1 man with a problem as it is to sit in cult to do. Giuffre’s Train and the ca and probe his music for the radio and River just doesn’t strike me as having A TV listeners. But where the probings that old feel. th always become public property, the “But the thing that surprises me hi counsel and problem work remain a about most young musicians is they I confidence between the person and Fa Father O’Connor (Continued on Page 49) ft
18 Down Beat Jim Hall
Some Talk About Guitars, Guitarists From A Good One
I oadcasting, nn, his LP shows, Fa- By Don Gold Hall is concerned with the future of to several other guitarists for inspira an educa- jazz. He wants to see jazz appreciated. tion. nments are “Jazz seems to be getting out of the “I studied with Vicente Gomez for He entered the jazz field for econom or an idea night club music category. It is gaining nine months in 1955 and found it to be ic gain. lonthly lec- the respectability it possesses inherent a great thrill. He has a warmth in his ì Jazz club “Frankly at first 1 got into jazz to ly, in terms of public acceptance of jazz approach to music that is stimulating. itten exarc make a living, to pay for my schooling concerts and festivals. And the School He has such a love for it. He has no ar. The re- in Los ngeles in 1955,” says Hall, the of Jazz, too, is a great step forward,” time for talk about anything but music irprise him. guitarist currently assisting in the pro he says. when he’s teaching. He gives all of t the meni pulsion of the Jimmy Giuffre 3. “It’s somewhat depressing to think himself to his students. I played things ne a lot of It was in 1955 that Hall, with a mu of spending a lifetime in jazz night I never knew I could play, thanks to smiles. sic degree from Cleveland Institute of clubs. That’s why these developments his teaching. I’m working on a finger 'er for the Music, ventured west. He had studied are so encouraging,” he says. style for guitar, and this, to a large ook for in guitar and had worked with bands in According to Hall, the jazz composer degree, is due to his opening my con- Cleveland for 12 years, but this was plays an essential role in the success cepts of the instrument. the major test of his desire and talent of such developments. ■ grins. "I “I LOVE BARNEY KESSEL, too, composers help. John Lewis Two musicians greeted him in Los “The for his fire. The things he did with utilizes classical foi-ms. For example, passes just \ngeles and helped him reach the de Artie Shaw’s band are wonderful; I he has written a convincing triple hxieland. cision which has proved gratifying for used to know all uf them. His enthu fugue with each part having a jazz istic about Hall and beneficial for jazz. siasm, in his playing, is splendid. That’s t. I do like “Tai Farlow got me some work when feeling, as I recall,” he says. one of the most essential things in jazz, “And Jimmy (Giuffre), too, natu rht George 1 first came to Los Angeles,” Hall re too. this year’s calls. “He gave me a warm feeling Tai rally, uses the materials of jazz. His real art is in writing so well you can’t “Freddie Green seems to be responsi has such a positive approach to playing ble for bringing back the idea of guitar then con and to life. He gave me such a feeling. tell the written from the improvised parts. As I remember. Bill Holman does playing in terms of the rhythm sound. lack form, Red Mitchell, too, gave me a welcome He gives me the same feeling I get tious.. .al to professional playing. These two jazz things in longer form, too. How ever, Jimmy’s things are the most ex from Segovia. The don’t-worry-about- I jazz. But guys, guys I respected, turned out to be a-thing feeling. I love his sound; it’s citing I’ve heard. His things have a ; of humor warm human beings and wonderful exciting. unity of purpose. become the people. “I think w’riting in extended form “Actually, 1 guess Charlie Christian 1. The mu- “WHEN I WAS A teenager, some of is essential to the growth of jazz and was the first jazz guitarist I heard. I ain you as the jazzmen 1 knew were unhealthy. 1 believe in the role of improvisation. find that his solos seem to me to re To find out it didn’t have to be this within these interesting forms,” he main remarkable, no matter how many quality of way, to find out you didn’t have to notes. times I’ve heard them ou record. His ■ar today." sacrifice individuality, was important HALL’S SUCCESS HAS been so solo on I Found a New Baby, with ere is jazz to ine. Tai and Red helped me acquire pronounced, in esthetic terms, that he Goodman’s sextet, is one of the best iswers: a happy feeling to play jazz,” he adds. has discontinued plans for a teaching solos I’ve ever heard on guitar. He was be doing After stints with several w’est career. the first guitarist I heard with a great re moving coast groups, Hall landed the guitar “At one time I planned to teach in drive, a saxophone approach, an ability try music, spot with the Chieu Hamilton quintet. u college and du a good deal of writing, to play fresh phrases. He never played composer. His efforts with that group won hint but the more validity I find in jazz, as excess notes, either. :t that we critical recognition. When he decided an active jazz musician, the more I “Django Reinhardt had a feeling thers, and to leave the Hamilton group, he found want tu keep playing and writing. different from that of Christian’s, but ting musi- a place in the Giuffre trio. His experi “There’s so much to be done. I’m he had an inventive, almost experimen direction. ence with Hamilton and Giuffre taught trying to do a lot on improvised back tal approach. You couldn’t second gues» arlie Min- him a good deal. grounds. Not heavy, but pianistic; not him. Never too obvious. Listening to y Giuffre, “Now I fee) that jazz is a valid art straight rhythm or heavy chords. I try him was almost like listening to Monk, •s... form,” he says. “I doubt if I’ll ever go to construct a compositional back the never knowing what was coming to be go- back to school, because I’m fascinated ground on improvisation, more a con up. He covered all facets, rhythm, ostly they by the wealth of material in jazz. Once trapuntal or linear style than parallel. chord solos, single line solos, harmon . It’s diffi- I looked down my nose at jazz, be “My style is constantly changing. I ics, tremolos, many things guitarists and the cause of having to play in night clubs. usually try to make my solos fit into fear. He used the entire guitar,” Hall as having After I realized that it seemed to be the composition, making each solo a says. tlie right music for me, once I found little bit different. Also, I try to main It’s been 16 years since Hall received prises me how much I enjoyed improvising, once tain a natural blues feeling,” he says. his first guitar as a Christmas present. s is they I joined Giuffre, then I discovered my It is this desire to express a “feel At this point in his career, he’s de lighted that it wasn’t a Christmas tie. 19) future,” he concludes. ing” on the guitar that has drawn Hall hwn Best November 2ft. 1957 19 “Does knowing the lyrics of a jazz song help the musician improvise?" (Recently this writer guested on the show and was fired a pair of meaty questions: “Why do some of the oider musicians, like Duke, Louis Armstrong, Ella, and Roy Eldridge retain their popularity?” and, “I’ve heard so much about mainstream jazz. Can you define it?" (Try those on before a live mike In some night.) lute “Whenever possible,” Tommy says, iho “We try to get a musician to answer * s a question aimed specifically at him, H even if we have to do a taping or a of beep-phone recording.” biei When the Mutual network changed ver hands recently, questionnaires were gui sent to the nearly 500 affiliate stations. to More than 300 stations answered, with cor favorable comment on Bandstand BWÌ Leonard Feather, Tommy Reynolds, and Guy Wallace U.S.A. ( Although the program originates Pel largely in the East because of the time it lag between coasts, much mail is re fat ceived from west of the Mississippi. « Considerable mail arrives from disc me BANDSTAND U.S.A. jockeys, as well. ist THE PROGRAM IS carried, com ing plete or in part, by more than 300 sta bu; By Dom Cerulli clubs in Philadelphia, Washington, and tions on Mutual’s vast network. De Last July, during the pre-concert other swinging cities. The locations spite the appearance on it of thousands Ne bustle and confusion at the Newport vary from time to time, as do the upon thousands of dollars worth of ha Jazz Festival, a bandstand as big as artists. musical talent, it has never manager! foi all outdoors held a birthday party. Wallace, a relaxed commentator and to attain a sponsor. Quite probably the tri As parties go, it wasn’t much of an a personable interviewer, adds listener show would have been axed for more profitable air time if it had not proven affair: a group of critics and musicians interest to the proceedings with often 7 < huddled around a microphone under provocative queries of his guest, either so popular. As it is, its status is still rather shaky. P>| the Newport stage in Freebody Park. a prominent jazz writer or musician. it, Recently, an additional feature was Switching from spot to spot proves But from coast to coast, jazz fans ac were wishing Mutual’s Bandstand added to spice the proceedings. Listen ticklish, but Mutual’s engineering staff, working for pre-set cues glibly handed U.S.A. many happy returns . . . and ers were urged to send in their ques ac them by Wallace, make the cuts and many, many more birthdays. tions on jazz to compete for prizes of m« The two-hour show, the only pro high fidelity components. returns without a hitch. “Success of the show can actually be Hi gram on commercial radio in the Some of the questions have proven in credited to the tremendous cooperation United States airing live jazz, was so searching, that musicians and writ ho from the artists and the American bora in that same Freebody Park at ers alike have continued lively discus es Newport during the Jazz Festival of sions with Wallace in the studio after Federation of Musicians,” Reynolds says. “The union permits us to do the 1956. the Q & A period ended. is sustainer, and thereby helps live talent Father, mother, and guardian angel “When we started the question and Pi be heard. of the show has been Tommy Reynolds, answer contest,” Reynolds said, “we in a former bandleader, and a tireless planned to continue it for just four “It’s a good thing for the musicians, SU worker on behalf of sound program weeks. But we’ve got such a steady too,” Reynolds says. “They can pro th ming of live jazz and good music. response to it, we’ve continued it in gram their own tunes, and get their Y In the more than a year Bandstand definitely.” originals aired.” th U.S.A, has been on he air, every im Jazz LPs and some Coty perfume are The Voice of America relayed some to portant musician, and many of the vo sent all persons whose questions are of Bandstand U.S.A.’s Newport pickup tn calists, in jazz have been showcased on used on the air. The best question of all over the world. And the show keeps in the 8-10 p.m. (E.S.T.) segments. The the month, chosen by u panel of Reyn popping up in strange places, too. fi taste is catholic: Bud Freeman and the olds, Wallace, and Leonard Feather, “We received a letter from the all-stars, the Adderleys, Ellington or receives a Scott FM tuner, a Scott am U.S.S. Saratoga, the aircraft carrier.” ci Basie’s band, and Charlie Mingus Jazz plifier, and a Stephens extended range Reynolds says. “They pick up all of el Workshop could well rub shoulders in speaker. the show and broadcast it over the tl the segments picked up—live—from “We even have received some ques ship’s PA system.” a the nation’s jazz clubs. tions about hi-fi,” Reynolds laughed. Perhaps the best critique of the show V “Jazz is jazz,” says Reynolds, “And “But generally they’re all about jazz.” was voiced by a foreign student who o: we carry it all.” And the answers have been supplied listened to an explanation of how a THE TYPICAL FORMAT consists by such varied personnel as Duke El Bandstand worked. 81 of veteran announcer Guy Wallace and lington, Dizzy Gillespie, Feather, May “Unique!” he exclaimed, his face a guest perched in a studio at Mu nard Ferguson, Nat Hentoff, Willis glowing. “They pick up the live jazz h tual’s New- York headquarters, calling Conover, and Bill Coss, among others. from all over the country. What a c in the jazz groups and bands from AMONG THE QUESTIONS received splendid idea! What a happy thought!" a spots such as Birdland, Cafe Bohemia by Reynolds for the show are: And m this jazz-starved land of that Ï The Voyager Room of the Henry Hud “Is Bop dead? music’s birth, Bandstand’s listeners F son Hotel, and Bourbon Street in New “Is Rock and Roll a form of Jazz? can only listen, and hope the show i York; the Red Hill Inn in Pennsauken, “Would you say that jazz musicians survives. I N. J.; Storyville in Boston, and jazz are born or taught? It’s about all we’ve got on the air. ? 20 Down Beat of a jaaz rovise?” PETE JOLLY sted on the ' of meaty He Wants To Help Make f the older X nnstr
» Down Beal an remain but can ndi vidual* music in review 'own Beat tions to a Jazz Records Blindfold Test • In Person se of thia
thi Coral MANNY Cntti Miaor ALBAM Th arra and his well » gc «tre; thre< Rhyl JAZZ GREATS mate ing Oc enou to t Hear the finest sidemen in the world resu Alba cutting the world's finest jazz! Too siste Dig these sharp arrangements and Blue In swinging originals by Manny Albarn! as r was scori gan on I thè i MANNY ALBAM ano
The World’s Finest Jazz
24 Down Beat No» Records 8*9 reviewed by Dom Cerulli. Leonard Fosth >r, Ralph J. Gleason. Dor Gold and Jack Tracy and are initialed by the writers. Rating»: ★★★★★ Excellent, hhhh Very Good', I Good, ★★ Fair, ★ Poor. the
Mannv Albam banjo and guitar | Martin Popple, trumpet t Rolly THE JAZZ GREATS Oi OUR TIME, Vol. i— Furnas, trombone। Don Owena, piano । Ray Lea- BEAT Coral 12' LI* CRL S717Si Bloor From Yoithar Coo9t; L«IÍr«4 Fraetur«| Poor Dr. Millmow; Bloor Mallrrii My Swootio Prnl Away| AU Too $•011« Soo Hora, Ulu Brnmloy, The vigorous Bauduc-Lamare group Peraonn«!: Gerry Mulligan, baritone। Al Cohn, generation feel Sima, tenorai Phil Woods, elto| Bob here works over a relatively standard Dixieland slate with a lot of pep, in the established tradition. New York can’t hold a candle fl Bolen is impressive on New Or to San Francisco these days. The leans, as is Owens on that rolling city out West has always had the This makes it. Manny Albam, an oldie, Dardanella. Good-humored vo view from the Mark, the Golden Gate arranger sensitive to the blowing as cals are slung in by Lamare on Irena, well as the writing scene, assembled by Furnas on Bill Bailey, and by Fur Bridge—and Ralph J. Gleason. To a good cross-section of eastern main- nas and Lamare on Walking With the rub it in, now they’ve grabbed the itream hornmen, supplied them with King. Giants, they’ve got poetry readings three-quarters of the New York Big Noise is yet another re-creation, in night dubs — and Jack (“On the Rhythm Section, and gave them some this one featuring the leaders. Road”) Kerouac transforming S. F. material on which to embroider, rang The group hangs together well, with into the world capital of the "beat ing from sparkling to merely fine. mon* of a front-line blend than some generation.”’ Oddly enough, or perhaps, Justly I’ve heard recently. Peppie’" trumpet enough, I found the Albam originals ing often breaks the bind of the tra Charles Mingus’The Clown to be more fertile in terms of the ditional Dixieland form and is in ( Atlantic LP 1260 >, with its impro J results shown here. The two non spired. Albam tracks, Sweetie and Duke’s All On the whole, a better-than-average vised narration by Jean Shepherd in Too Soon, don’t compare with the con- revisiting of the Dixieland classics. a jazz setting, unpremeditatedly has iistency and wealth of solos with which (D.C.) played right into the jazz-cum- Blues For Neither Coast is endowed. poetry movement out in San Fran Ronnell Bright cisco (“heaping fresh fuel on the In fact, the only other track I found BRIGHT FLIGHT—VuOKu.nl 12" LP VRS as richly rewarding as Neither Coast 8512: Randall* 9 Island; Sally«; Pooplo Will Say fire” according to the Examiner). was Dr. Millmoss, and in this, Albam Wo*ro in Lava; Lioa; It Novar Entorod My Mind; This development helps to explain For Polo*9 Sako; Toastad 'Ammond; It Could scores by using a simple device: Mulli Happon to You; How Littlo Wo Know; Bohemia, in just what way ours is a beat gen gan and Cohn playing the bass line U^.A.; I*vo Crown Accustomed to Your Faro. eration. Use the word beat as a noun on baritones as a binding factor in Personnel: Ronnell Bright, piano। Joo Benja the composition. min, bawf Bill Clark, drama. rather than an adjective, and then Hatlagl it*1! Brookmeyer emerges ls the most con it makes sense. This is the gener- stantly challenging soloist. His ap Bright is the young pianist from ation-of-the-beat and it is inspiring pearances on the first three tracks, Chicago (University of Illinois—class a new literature and a new music particularly on Blues, are glistening. of ’52) who began making a living H. solo on Minor Matters is excel in jazz after college, with J'ohnny If there is anything that the lent, and his second solo on AU Too Pate'^ trio in the Windy city. In 1956, beat generation wants, it is to get Soon is moving and powerful. he went to New York and in recent back to fundamentals, to honest Art Fanner’s opening solo on Nei months has been heading his own trio. Bright’s classical background leads emotional responses — and that is ther Coast is among his best record why “funky” jazz has come to be ed work. Zoot is unusually subdued him to approach the instrument with throughout, except on Sweetie, where respect for its fullest potential. He is their music above all Gratifyingly, he boots along like the free-wheeling a pianistic technician. He moves front this has made phenomenal sales suc tenor-man we have come to know. one tempo to another with relative ease cesses of The Great Ray Charles Woods is stabbing and often terse. and inventiveness. (Atlantic LP 1259) and Milt Jack His playing of late has been brim His basic difficulties involve ballad interpretations nnd the repeated use son’s Plenty Plenty Soul (1269). ming with tension. Travis is fine, par of technical devices. He tends to over John S. Wilson explained in a recent ticularly tasty in his muted work. article how these men fashion the Mulligan is good, but he has. been play or merely iecite ballads. Here, for more declarative as a soloist in his example, Mind is somewhat florid and kind of jazz “that sticks to the ribs” own group. As a supporting voice, Happen mere recitation. Oddly enough, out of the deep resources of the blues he is excellent. Cohn is smooth and his own ballad, Sallye, is above-average and the gospel song. in composition and performance. flowing, as expected. And Hank Jones There are moments when he exerts remains one of the most tasteful of In talking about beat, we al pianists. too much self-restraint or is satisfied ways come back to the Modern Jazz Although I raise an eyebrow nt the with perfunctory expressions and re- Quartet, who are now in Europe on album title, I realize that other con occurring devices, including the use of a kind of keyboard smear. an extended tour. In their absence, t tractual commitments would of neces we’ll turn many times to The sity exclude such vital voices as Miles, Despite these flaws, Bright can cre- Monk, Diz, Hawk, J. J., Max Roach, ate fascinating wholes when he digs in. Modern Jazz Quartet, their latest and Pettiford, among other greats. He certainly has considerable ability LP (1265), the swmgin’est disk of Burt Korall’s liner notes are a val and treats the instrument with the them all. uable guidepost to the team lines fol respect it deserves. If he can loosen up a bit, learn to confront ballads as Atlantic is the label in tune with lowed hy the participants. Manny has he does up-tempo tunes, and rid his the BEAT generation. We produce a West Coast collection due for re lease to complement this East Coast style of devici s which substitute for the musie with the BEAT for you. ideas, he could become prominent in Write for free catalogue. cross section. (D.C.) the field of jazz piano. Benjamin and Clark, by the way, support Bright with Ray ftnuduc-Nnppy Lamarr skill and taste throughout this set. RIVERBOAT DANDIES—Capital IS* LP T877i Vanguard deserves credit for giv ATLANTICRECORDING CORPORATION Palkin, Pilh Tha Kin,i Do You Know VAut It ing Bright this opportunity, but the WO IM IK7 WIST MBW WORM IA N. V company should have limited the num Bnmat I .rumali NIimi Suuth Kampart Straat ber of tracks, to provide Bright with Parada, Blark and IF hila Ba,, Lann From Paia: •aana, Tin Roof lUim, Khwrtiool ShugUi Darda the chance to express himself at more extended length on each tune. (D.G.) >wn Beal November 28, 1957 1. ('lorn Bryant left for the other’ musicians to do. Miss Bryant’s ambition, but manage to CAI WITH A HORN: CLORA HR YANI. I— Therefore, the rating applies to Miss provide an adequate rhythmic base for Gypty i" My Soul; Makin* Bryant’s ability, as manifested here. her explorations. Fleming, in brief h a Horn ; Sweet Georgia She is a primitive stylist, vocal-wise, spots, solos well. But this is Miss Bry and an exuberant, Eldridge-influenced ant’s LP and she makes the most of trumpet player. As a singer, she has it. It is not a complete success, out considerai le intonation difficulties, but it indicates some itegree of promise, does manage, at best, to be relatively In the future I’d like to see her sepa persuasive. Her trumpet playing is rate her vocal and trumpet abilities in Rating: ★★★ forcefully direct, if at times quite de respective LPs. (D.G.) Miss Bryant is a Texan who went rivative. On a good day, I imagine she to the west coast as the trumpet-play could hold her own at many sessions. Ray Bryant ing leader of a quartet at a Los An This LP indicates her assets and flaws, RAY BRYANT 1RIO—Prouig* 12* LP 7O9U, geles club She added vocals for greater on both voice and horn. She does mani Golden Earring»; Angel Eye»; Blue» Change»; audience appeal. Split tin*; Django; The Thrill 1» Gone; Daakoud; fest a definite amount of talent, par Sonar. In this collection, she sings and plays ticularly on trumpet, and possesses an Personnel: Ray Bryant, piano; Ike Isaacs, trumpet on eight standards. It is, with obvious potential which may or may bass; Specs Wright, drums. out a doubt, her LP, because, after vo not be fulfilled. Rating I cal and trumpet choruses there is little The sidemen here are submerged by Bryant, 26, is the Philadelphia pian ist who has been heading the trio backing Carmen McRae. This is that trio, and it is a well-integrated one. In Listen Hear a New World of Jazz on Decca! addition to his work with Miss McRae, Bryant has recorded with such artists as Miles Davis and Sonny Rollins. The trio, as a trio, works cohesively Jed well. Here, however, much of the bur den falls on Bryant and he does not sustain interest throughout. His pian istic approach is a distinct, important virtue. It is a delight to hear a pianist use both hands effectively and simul taneously. However, despite tins two handed approach, he is not consistently inventive. On several tracks, for ex ample, his playing appears superficial, SOUTHERN without emotional depth, and more like a recitation than an improvised per formance. t His originals, Changes and Splittin’, are more rhythmically inspired than concerned with melodic lines. The bal lad performance on Angel is somewhat perfunctory for one of Bryant’s back ground. His interpretation of the John Lewis composition, Django, is melodic and sympathetic, indicating that hs "Boy, Jeri not only 'Gently can project himself into a tune. And “John Graas is a gas . . . and his although his best moments here are en Jumps,' she swings.. .and Ralph ‘Jazz Lab 2’ is the swingingest! couraging, he doesn’t maintain a level Burns' arrangements really Some standards, lots of originals, of consistency which would make this o.ove. Great standards, great I" all way out a vital part of a record collection. ______DL M72* (D.G.) Page Cavanaugh FATS SENT ME—Capitol 12* LP T879: Makto* the Town; Easy Lining; Birddoggin* the Chick»; I Can See Yon All over the Place; No Ono Core»; NWS«*1 You*re My Baby Doll; IP oilerin* Around; The Lett Co Know; Open Home; Sqww Me; l’n Not IFor» rying; Fat» Sent Me. Persona«]: Cavanaugh, piano; Al Hendrickson, guitar) Jack Smalley, bass) Milt Holland, drums| Ray Linn, trumpet) Plas Johnson, tenor. Rating: Nearly all of the tunes >n this set ¿0*6 Jazz Studio a No. 6 are Waller songs recorded for the first rm. EASTERN time. And, it’s a relief to hear a Wal ler collection without the usual stand ards. These, while not top-drawer Wal ler, have the mark of that master on them. The treatment is appropriately Wal- lerish but hardly as boisterous and free-wheeling as Fats would be. Cav anaugh is an agreeable Waller-type pianist, but the rest of the group is rather too polished to sound like Fats’ t uni pus -oom cohorts. “This is a collector's ¡torn... Louis According to the liner notes, only Armstrong talks, plays, sings 48 Barrow Quartet flip» over the ‘East about half of Waller’s song output of groat classics.. .ultra-deluxe ern Scene.' And man. they change some several hundred tunes has been packaging, tool the stage setting! Cool!" DL 8551 published. Let’s hope that this is just the start of a full-fledged search into 'Avellasi* Ext Plav 45. whatever files must be searched to bring out some of the others. (D.C.) DECCA Buck Clayton BUCKIN' TTO BLUES—Van*u*r«l 12* LP Vic* A NEW WORLD OF SOUND* 8514i Buck HucUutf Cloy.onlai Cool, Tool
Down Beat (Advertisement) Squuuou Mu; Good Morning Bluu»; Ballin* thu manage to Jack; Bluu» Bla»u; Tho Queen»* Expro»». ic base for Personnel: Buck Clayton, trumpet; Vie Dicken QUESTIONS AND ANSWERS son, trombone; Earle Warren, alto; Kenny Bur in brief rell, guitar; Aaron Bell, bass; Hank Jones, piano; Miss Bry- Q: Ever try ploying 3 against 4? Jo Jones, drams. ie most of Rating « 'A AA A iccess, but A: It's fun . . . and easy, particularly when tha f promise. song's I Get A Kick Out Of You as played This set was recorded last March, her sepa- on MMO Rhythm Record Vol. 5. when Clayton, Burrell, and Hank Jones abilities in were with the Benny Goodman band Q: Diminution . . . What is it? How does it in New York. Warren, Dickenson, and work in jazz? Jo Jones form a solid Basie contingent; Bell was a last-minute replacement for A: Take Somebody Loves Me, reduce the first Walter Page. 8* LP 7098: 16 and last 8 bars to 8 and 4 respectively, so» Chan go» f play the 8 bar release normally, and make This is essentially a blues set, with «1 Daahoud; it swing and sound natural. It's done and Clayton indicating his stature as a Ike **,!•>• you can do it on Vol. 4 Rhythm Record. jazz trumpeter, regardless of era. He continues to be a stimulating individu Q: Can you keep You Do Something To Me alist on his horn. As an individualist, phia pian- moving for two choruses at a slow-motion Dickenson is not far behind Clayton, the trio 48 mm. = J. although he has played with more in is is that genuity than he does here. ed one. In A: Kenny Burrell does it magnificently on Vol. There are several fine solos by Hank ss McRae, 5 and with the aid of 3 other great rhythm Jones. Burrell plays with characteristic ich artists jazzmen invites you to try. It takes time verve and skill. Warren’s shouting is ollins. and practice but is well worth the effort. somewhat strident, but never emotion cohesively less. f the bur- Q: When is it best to double-time a chorus? There is something of interest on does not A: The best answer lies in listening to such each track. According to John Ham His pian- masters as Joe Wilder, Mundell Lowe, and mond, who wrote the liner notes, Blase im portant Geo Buvivier de- it on Vol. 4 and then is the first complete solo number ever • a pianist trying it yourself. recorded by Clayton. Except for the nd simul- cliche utilized as the exit, it is a thing this two- Q'. How soon can you start to answer for your of beauty, with timeless vibrance. insistently self all of the above questions? There are a number of splendid s, for ex- uperficial, A: In the time it takes to get down to the local statements throughout the course of record or music shop. If more convenient, the LP, with Clayton a standout. The more like fidelity is not as awe-inspiring as the zised per- fill out the coupon below, then sit back and practice. Your own rhythm section will ar notes might lead one to think, but it rive within five days of our hearing from doesn’t obscure the strength and vital 1 Splittin', ity of the music. It’s definitely worth ired than you. In high fidelity tool , The bal- hearing. (D.G.) somewhat nt’s back- Volume 4 The Music Of George Gershwin Cohn-Farmer-McKusick-Burrell the John the songs: somebody loves me — fascinatin’ EARTHY—Preotige 12" LP 7102: Earthy; Greatest Piano is melodic rhythm — someone to watch over *What» Not; I Wouldn't; Tha Front Linu; Dayan» Album of the Year- ■ Personnel: Al Cohn, tenor; Art Farmer, trum that he me — »'wonderful — ! got a crush pet; Hal MeKuslek, alto; Kenny Burrell, guitar; ;une. And on you — bidin' my time — of thee Mal Waldron, piano; Teddy Kotick, bam; Ed re are en- i sing — but not for me mund Thigpen, drum.* in a level Rating I ★★★★ make this played by: joe wilder, hank ¡ones, mundell "The Best of I collection. lowe, george duvivier, and max These are extremely professional, dis Irving Garner...” I roach ciplined performances. Cohn, Farmer, McKusick, and Bur Volume 5 The Music Of Cole Porter rell, working in front of an excellent It is doubtful that there exists V 879: Makin* the songs: night end day — begin the beguine rhythm section, have a free-blowing ho Chick»; I today a piano player with a ] — love for sale — you're the top — time. The charts, with the exception of Ono Caro»; Waldron’s appealing What’s Not, are id; Thu La»t i get a kick out of you — let's do surer touch on the piano and a more excuses for soloing than all-en J *m Not *Wet it — you do something to me — greater knowledge of harmonics l anything goes compassing entities, but accepting this 3endrlekoB>* as the premise, the sides are worth than Irving. His knowledge of ' and, drams | played by: ray bryant, kenny burrell, george or. hearing. chordal changes is incredible, duvivier end art taylor There is a high level of solo inven but even more so, his rhythm i this set EACH 12“ LP COMPLETE WITH tion here, with Farmer, Burrell, and r the first Waldron particularly impressive. Cohn and his sense of time are metro- ir a Wal- MUSIC, CHORDS AND LYRICS ..SOI and McKusick are strong ones, too, and nomically correct to the point tal stand- play with consistent warmth. wer Wai j I'd like to answer tha questions as soon as pos- I Farmer plays several striking pas where it is doubtful if the tempo naster on । sible. Please send me: □ Volume 4 Back- I sages here, highlighted by a projecting of any of these songs varied from I grounds to Gershwin. □ Volume 5 Backgrounds ! tone and fascinating conception. Bur tely Wal- J to Cole Porter. I rell, one of the finest guitarists in con beginning to end more than one rous and • I enclose: □ check. □ money order. □ Send । temporary jazz, creates deft patterns thousandth of a second. be. Cav- । C.O.D. I and single lines. Waldron’s piano would For a rare delight, and at aller-type be an asset to most of the current rec group is । My Instrument Is: □ trumpet □ tenor sax I ord sessions. times possibly an even bizarre I □ clarinet □ piano □ guitar □ trombone ! one, I am proud to recommend like Fats’ McKusick’s alto often is a fascinat * □ drums □ alto sax □ organ □ violin □ ac- | ing instrument. He communicates with “The Best Of Irving Gamer? •tes, only । cordion □ bass □ baritone sax □ vibes □ vo- I a good deal of conceptual strength. output of I calist (or people who ¡ust Ilka to sing). Cohn continues to be one of the most Gerald Cranston Link has been inventive tenor men. Musical Editor, The Times । Name ...... I is is just There is a good deal of extended arch into MG V-2078 rched to ! Address ...... I soloing here, highlighted by Dayee, a s. (D.C.) 14-minute-plus series of solos based on I City...... State...... j a riff by Burrell. Sustaining freshness under such circumstances is often dif ! MUSIC MINUS ONE, 714 m w N. Y. 19 I ficult, but these men manage to do RECORDS 2* LP VR9 L______T M A ., J Coot, Toof just that. (D.G.) own Beat November 28, 1957 A Migli Fidelity Production- Supervised by John Hammond Ray Draper Some of the real troubles of the stati RAY DRAPER Ql I NUT/Tl BA SOUNDS— jazzmen are touched on in the dis are. 12* LP T0Q6: Terry Annei YoaVo Mr cussion of present and future prob dran Thrill; Pivot; Jockio*» Dolly; Mimi*» fntorludo; Houto of Davis* lems. Costanzo eomes off as an intelli fron down Personnel: Ray Draper, tuba; Jackie McLean, gent, thoughtful spokesman, perhaps Kell BEAT alto; Webster Young, trumpet; Mal Waldron, the most far-thinking of the panel, LP piano; Spanky DeBrest, base; Ben Dison, drums. Teagarden, as warm a person here ai Tl Rating, when he 6peaks through his horn, SHOWCASE If jazz is to progress, it must be the wonders whether our music, jazz, will but given regular transfusions of young be lost with the influx of new ideas The Vanguard Library of blood. here and sounds. During the discussion, most High Fidelity Jazz This is one example of the young Costanzo declare^ that if wo are to the musicians who must inherit the jazz hew to the standard instrumentation, writ world and extend it into the future. then why not hew to the same songs Nat It is the first LP as a leader for the and never play anything new. The Joni 17-year-old Draper. It marks, too, the bongo artist adds that jazz must con Sch recorded debut of 24-year-old Young, tinue to grow and evolve to remain roll, JIMMY RUSHING sings who has played with groups in the great Diz: with All-Star Octet Washington, D.C. area. Dixon, 22, There’s also a discussion of what tion worked with Young in Washington. happen to jazzmen when a newer T “IF THIS AIN’T THE BLUES’’ McLean, 25, has been on a variety of school of thought takes over. Elman Rushing again exemplifies the best in the blowing session sides. DeBrest is 20. solo blue* idiom, backed offers an explanation of one of the the by a fine combo." Waldron, at 30, is the oldest member modern pitfalls: the host of instru —VARIETY of the group. ment specialists, who are working only lom 1-12" VRS-8518 for The six-tune format is an excellent when their specialty is needed. it v one. Draper plays well, within the solo Teagarden, Costanzo, and Elman limitations of his instrument. If the study the problem of whether their BUCK CLAYTON plays liner notes are accurate, Draper is an children should become professional Cl with All-Star Septet astonishingly capable young musician musicians. Teagarden offer!, a personal PAL and composer. If so, it might be wis«* case, that of his son, Jack Jr., who ih- BUCKIN’ THE BLUES for him to attempt to express himself Oce* “A fine ’elues-oriented swing package . . . left music when he found he had to fane tend to forget such ewing giant* as on another instrument, since the tuba buck his father’s reputation and the Cl jton and Dickenson, is not, essentially, a vividly melodic in inevitable comparisons between their who are in exemplary Su strument. He plays well, here, but I form here.” trombone styles. eon, —THE BILLBOARD would prefer to hear him on an in Perhaps moderator Troup best sums drei 1-12" VRS-8514 strument not so limited in terms of it up when he declares, “What £ man articulation. has got to do, he does." 1 RONNELL BRIGHT, McLean continues to strike with sty Thi? type of spoken-word recording tra piano — in great force, but isn’t as fluent con is becoming more and more in evi ceptually here as he has been in past Hu BRIGHT FLIGHT dence. It appears to me that with in (w efforts. Yr,ung shows considerable telligence planning and wise choice of with Joe Benjamin, bass and Bill Clark, drums promise and deserves additional oppor pia “An appealing piano speakers, LPs of this type would be cat *e»no' ’ tunities to be heard. Waldron contrib a valuable adjunct to the collections of —THE BILLBOARD utes grace and maturity throughout. an serious jazz students. This one shows mo 1-12" VRS-8512 The rhythm section is sturdy. we’re getting there. (D.C.) Draper’s two originals, Dolly and ph: inv Interlude, show a fondness for minor Dizzy Gillespie RUBY BRAFF, trumpet keys and attractive lines. Young's str ELLIS LARKINS, piano Terry Anne is lively and his Davis is DIZZY IN GREECE—Verno 12* LP MG V- str POCKET FULL OF DREAMS a thoughtful tribute to Miles. tin School Days; That9» Ml; Stabla Motos; Croovin9 me "For sheer inspiration and first-rate crea The rating would have been higher, High. SUI tivity, these should find a permanent place but most of those present have a way among the greater efforts of recorded jazz” Personnel t Traeko 1-7, lO~Diny Gillempte» —WHITNEY BALLIETT. SATURDAY REVIEW to go and show it. Nevertheless, all trumpet end leader; Ernie Wilkins, Billy show potential and should be heard. Mitchell, Jim Powell, Marty Flax, Phil Woods, Bi 1-12" VRS-8516 reeds; Joe Gordon, William Warwick, Quincy (D.G.) Jones, Ermet Perry, trumpets; Rod Levitt, Melba !na THE TED BROWN SEXTET in Liston, Frank Rehak, trombones; Walter Darts, Escapade Jazz Scene Nolaon Boyd. Charlie Perwip, fa FREE WHEELING drumt. On tracks 8 and 9 (recorded I another ESCAPADE REVIEWS THE JAZZ SCENE— to featuring Mame Mur^f, and Art Pepper Lee Morgan, Itrumpet I tn 1-12" V RS-8515 Liberty 12* LP SL '*0031 Jau Symposium with Wynton Kelly, Benny Goleo panel eonalating , f Bobby Troup. Jack Ira Mitchell, ten ora, and Gillespie. ho Otrden, Ziggy Elman Howard Rumaey. Jack an THE NAT PIERCE BAND joins the Coatanao. «nd Johnny Olla, with Bob Enetoidaon, MEL POWELL BAND in The title of this LP seems to be jus rh Pr EASY SWING tification for use of the cover photo, of en 1-12" VRS-8519 Escapade magazine, a PlayboyAike Gillespie in Greek garb, since there is publication, assembled this group of no evidence that an audience is present JIMMY RUSHING sings musicians in a recording studio to dis for this concert performance, in Greece GOIN’ TO CHICAGO cuss the history of jazz briefly and or anywhere else. In characteristic s with All-Star Septet chart some of its future possibilities. fashion, Verve’s facilities do not in M "Just about the best display of vocal blues put on a disk since recording An edited transcript of the proceed clude someone to jot down personnel. sh companies got modern."—HIGH FIDELITY ings was published in the magazine’s And Marshall Stearns’ notes, while th 1-12" VRS-8518 (Reissue of VRS-8011) June, 1957, issue. This is a recording somewhat descriptive, do “ot note when ALL 12 LIST PRICE $4.98 of most of the 90 transcribed minutes these sides were recorded. He docs VANGUARD, whicn brought you the first true high of that meeting. note, however, that the two tracks w fidelity jazz recording on disks, now brings yen Rumsey speaks for the moderns, noted above were recorded at a later C The ultimate in recorded sound session. VANGUARD JAZZ STEREOPHONIC TAPES Teagarden represents the traditionals, “IF THIS AIN'T THE BLUES” Elman is the swing representative, At any rate, one can recognize Diz Jimmy Rushing and Band VRT-3005 Costanzo $peaks for the Afro-Cubans, zy’s playing In technique, in concep BUCKIN' THE BLUES and Otis for the rhythm *n’ blues field. tion, in wit, he remains a giant. He
Down Beat N es of the stature, but few contemporary jazzmen Harry Babasin. On the first four titles i the die- are. And inspired by him. they play Buddy Collette’s flute is a dominant ;ure prob, dramatically. There are valid moments voice; on the next five the vibraphone an intelli- from Mitchell, Morgan, Woods, and is substituted; the last three simply , perhaps Kelly, to name a few, that make this use cello and bass as the definitive ;he panel LP worth owning and hearing often. timbre. It would have been better pro gramming to mix these up for the sake in here as The band itself does not encompass his horn, the precise section work of other bands, of variety. ALBUMS jazz, will but there is an incomparable drive in Throughout, of course, Babasin’s new idea* herent in its work. The charts, for the cello is in the spotlight. As the notes iiscussion, most part, are fascinating, reflecting point out, he was the first to play jazz ?e are to the best efforts of some of jazz’ best on the instrument (though Oscar Pet FROM nentation, writers. Ernie Wilkins’ Groovin’ for tiford wasn’t far behind). He is in fine une songs Nat fits this band perfectly. Quincy fettle throughout; the double time lew. The Jones’ Pete, is a fluid blues. And passages on Don’t Worry ’Bout Me are must con- School Days, now a satire on rock ’n’ an outstanding gas. remain roll, continues to be enjoyable, from The tracks with Collette, not only Dizzy’s vocal to Mitchell’s impersona because of his presence but because the GONE of what tion of Jacquet at his worst. instrumentation is identical, inevitably a newer invite comparison with the Chico Ham FOR THE r. Elman There are flaws here, in a few of the solos and the section work, but this is ilton quintet. The comparison, fortu DAY ie of the nately, does neither group any harm. if instru* the most vibrant band I’ve heard in too June Christy’s in a long a time. If it is forced to disband Harrington’s vibes for the most part king only have a supple Norvo-like quality. Over- warm and easy mood led. for lack of bookings, as some predict, p in relaxed ballads it will be a major loss to jazz. (D.G.) berg shows promise. All in all, there’s 1 Elman plenty of funk and enough pleasant arranged by Pete Rugolo. T 902 her their Tubby Hayes-Dizzy Reece listening to make this an acceptable ofessional CHANGING THE JAZZ AT BUCKINGHAM though hardly revolutionary produc THE . personal PALACE—Savoy 12" LP MG 121111 Hall Hurl tion. (L.F.) the Nicole i Blue Bird; How Deep Is tho SHEARING Jr., who Ocean Ff Blue Bird Number Twof Yardbird Suite. e had to Personnel i Tracks 1 and 21 Tubby Hayes, Jazztone Mystery Band PIANO । and the tenor Dickie Hawdon, trumpet ) Harry South, THE JAZZTONE MYSTERY BAND! HARRY Solo spotlight on | sen their piano) Petr Elderfield, bass) Bill Eyden, drum«« ARNOLD AND HIS ORCHESTRA—Jamona 12" Tracks 2-6: Diuy Reece, trumpet) Terry Shan« LP J 1270: t Found A Now Bobyt SU-Teui Our George Shearing, in I non, piano । Lennie Bush, bass) Phil Seamen, Low It Hore To Steyt Thiu Can't Ba Lovor performances I >est sums drums. ThU It Harry r Crony Rhythm t Blue Lout Little that highlight his ■ Bating IF hite Llett Cuban Trombones f Now It Can Ba it a man unpredictable wit and This is a blowing session, British- Told i Sunday t Jersey Bounce. Personnel i Harry Arnold, arranger and lead* poetic fluency. T 909 ■tyle. On Nicole and the long Blues er । Sixten Eriksson, Wei ne Reni i den, KMngt recording track, Hayes and Hawdon dominate. > in evi- Arne Wallin, Arnold Johanmon, trumpets« Ake Hayes, termed the “Little Giant” Persson, Andreas Skjold, George Vernon, Gordon JUST ONE OF with in (whatever that is) of British jazz, Olsson, trombone« i Arne Domnenw, Rolf Lin« choice of plays competently at best and indi dell, Carl Henrik Noren, Bjarne Nerem, Lon« THOSE THINGS The incomparable would be nart Jansson, saxes. Bengt Hallberg (tracks 1» voice of Nat “King" cates a lack of individuality. Hawdon, S, 5, 6, 7, 8, 12) and Gosta Theselius (tracks ictions of an ex-Dixieland trumpeter now on a 2, 4, 9, 10, 11), piano« Bengt Hogberg, guitar« Cole in easy- ne shows modern kick, moves from phrase to Simon Brehm, bass« Egil Johansson, drums. . (»Winging ballads. phrase with emotional drive and little Ra Ung t **** Backing by Billy invention. His tone tends to be quite This is the record with which George May features brass strident, as well. The Blues track is a Simon of Jazztone plagued the nation’s and saxes, a bright beat. W 903 LP MG V- string of cliches and exercises. At writers this summer. Guesses as to the Tin Daa; times, South manages to make some identity of the group ranged from Harry James to Elliot Lawrence to if Groovin' musical sense, but cannot sustain it in ■uch an atmosphere. Woody Herman (1945-47) to Les GillMpfe» Brown, to you-name-it. Nearly every kins, Billy Reece, 26, came to England from the one agreed that it was a clean-playing, Ml Wood«, British West Indies. He manifests a smoothly-swinging big band. The Al Belletto :k, Quiney primitive, undisciplined trumpet style. vltt, Melba Now that the mystery is over with Sextet in crisp, liter Davit, His technique, the basic ingredient, is and the personnel and identity known, imaginative ie Pertip, faulty, and his uninhibited drive tends at another it’s little wonder that this band swings. performances of to drown out the rhythm section. His standards and lively trumpet) tracks could have utilized another Virtually all of Sweden’s top jazzmen ion and are in it. And it’s a studio band which group originals. horn, in order to create more of a bal Their finest album ance and less of the trumpet-with- broadcasts regularly in Sweden, some thing to which we have no similar to date. T 901 o be jus- rhythm sound. Shannon shows some claim in this country. The writing is photo, of promise on these tracks, but cannot emerge from the flood of Reece’s fury. crisp, with traces of the color devices there is used by Harry James, Les Brown, CRAZY IN LOVE! i present In general, it is this undisciplined Kenton, and Woody in it. All of the n Greece quality, and essential lack of taste, soloists are at worst very fine, and at icteristic that makes this a loud, non-productive best, frightening. Trombonist Persson, Trudy Richards’ J not in- session. The rating is for the promise who was heard on an Epic LP of dynamic rhythm irsonnel. shown and the potential indicated by Swedish jazz recently, is a jazzman to and warmly personal i, while the best of those present. This certain watch. Pianist Hallberg, too, is known phrasing, combined •te when ly is not a representative sample of here, as are trumpeter Wallin and al with Billy May's big band ie does the best of British jazz. At least, I toist Domnerus. There are some solo sound, in happy-to-be- tracks would rather not think that it is. moments on this LP in which Wallin in-love songs. T 838 a later (D.G.) sounds so much like James, and muted Thr Jazzpickers like Joe Newman, that it’s again iize Diz- THE JAZZPICKERS—EoiArcy If U' 361111 frightening. Trumpeter Eriksson dis- Slays amazing tone and virtuosity on concep- B«b«i WAan You Lot. Satnaona; 1 nfhariilion ; COMPOSER’S t. He is I'll Romamb.i April I I Marrird An Ant^i ix - Ten, and Norwegian trombonist 5 far as Yardbird Saita; R. H. Fulori Sa«y Pickin'.; Skjold displays a lazy-toned, but driv Rap-Scallion ; Don't Worry 'Boat W«l Monti- HOLIDAY re glows Calio; Clap Hundt Hara Canta. Ckarlia. ing style on Sunday. Les Brown's great band * It is a Por.ooa.ll Harry Bubaaln. eallot Baddy Cal* By current standards, the writing is plays exciting originals .S, him on lotto, Matei Dab Harrington, drama aad ribra late Swing Era. But the playing, while by such top talents as > he past yhone | Bill Doaglom, dnn>| Don Orerbarg, Marty Paich, Elmer gaiter it has the smack and precision of over Bernstein and 3 a con- Rating l ★★★Vi seas bands such as Kurt Edelhagen Andre Previn. This is actually three different and Ted Heath, also has a looseness T886 Dizzy’S groups, all under the direction of and a beat characteristic of a good m Beat November 28. 1957 JAZZ MOOD—Sa»»y MG 12103: Motaph.. , American swing band. If Ernie Wil bj Yutoft Mood; Tho Baginning, Morning; BIum kins and/or Quincy Jones write charts Ut Spara. bra for this crew, their next LP is going Ponoanel Yiimì Latmf, Un» Curii, lullrr, tno' ZOOT SUITS to be a big band revelation. (D.C.) trombone । Hugh Lawaun. planl.it Eddie Farrow. ute: Richie Kamuca Katia,: gar ‘DOWNBEAT': «ICHII. KAMUCA/4—Mode 12' LP 102: hut in < Friend»; Rain Drain; Whet*» New?; Early Bird; This is the LP deout of a new De troit jazzman (not so new, really, he’s C “...one of the most genuinely Net er thole»»; My One and Only Love; Fire Ono; tern Cherokee. a veteran of the Gillespie band und blu productive reedmen of our Personnel: Riehle Kamuca, tenor; Cart Per- Dave Usher has been touting him for some time) and it is a debut worthy lat’ time. Wonderfully mature... fou Rating: WA1/ of considerable attention. ( penetrating feeling and drive This is the first LP as a leader for Lateef in both these LPs discloses a me’ Kamuca, the 27-year-old tenor man strong attachment to exotic devices, ins ... definitely recommended. ” who has been with the Stan Kenton moods, and melodies as well as deter mination to use unusual (to jazz) -DOWNBEAT, OCT. 17, 1957 and Woody Herman bands. According to the notes, Kamuca has had more Eurasian instruments, the chief of cej practical experience than formal train which here is the argol, which is de mr ing on his instrument. There is some scribed as a “flute-like wooden oboe fluì evidence of this here. soundmg” instrument. It makes a weird pia ZOOT SIMS ■ Generally speaking, this is an un sound in any case, and is admirably Do suited to the Dr. Fu Manchu-style ef in P^^aJfos distinguished effort by Kamuca, wlv fects these LPs specialize in. is unable, here, to sustain ideational patterns and create attractive solos. There are several strong points in an He plays with a notable lack of indi favor of the two LPs. All the players of viduality and phrases in segmented have a finely stitched community spirit, (r fashion, with little regard for liner emotional rapport, and understanding. construction. Although friends tell me Almost without exception the tracks that he has been performing with au give a feeling of warmth, a mood of thority recently, I do not see evidence relaxation, and good feeling, an un of it in this set. complicated emotional propulsion. His support is excellent, with Per Lateef, as a tenor soloist, is a very kins’ piano a particularly lustrous as good, unhurried explorer of these moods Jm set. Perkins’ original, Fire, is an in with an ability to really set up a wail teresting 20-bar composition; he con ing sequence, as on Yusef’s Mood. He ZOOT SIMS PLAYS 4 ALTOS communicates all the positive qualities na ABC 19b tributed Bird, too. Vinnegai and Levey support sympathetically, but this is mentioned above to a high degree1 in Sh Kamuca’s date and he fails to make his solos. I find hnn an articulate ini For Free Jan CataloeJI write to it a memorable one. (D.G.) voice from w’hom I hope to hear a tiv LkUlOCtlll AK »«HMOUPT great deal more in the future. Dt Dipl .0VOIDwar Fuller, who has a somewhat similar K< Tony Kinsey tii. KINSEY COMES ON—Lendo: ability to wail and transmit emotion, sti 1672: Lavo Far Nata, la 4 Mo deems to have less definition as a solo Name Flyer; Cambridge Blue; voice. Farrow, Lawson, and Hayes com plement the others very well. In fact so the best p>unt about these albums is Personnel : Tony Kinsey, drum»; Don Ken dell, la tenor; Ronnie Ross, baritone; Hill le Sage« piano the remarkable blend between the mu ca sician and the resultant warmth. ar However, the stress on exotica is a in This is a group Kinsey has headed limiting factor here, as it has been hi m jazz club dates and concert appear with Chico Hamilton and the composi th ances in London. Apparently, British tions of Buddy Collette. Jazzmen have m jazz audiences aren’t as critical as broadened the feeling of 4/4 time so m our own. it is no longer monotonous, though still The above rating indicates the gen swinging, but they have not as yet in eral quality of the performances here. done this with the various Latin types, The only genuinely decent moments I and the usage of odd-sounding instru VV experienced in listening to this were ments (in name and in sound) is fine ir those in which Rendell was featured. as part of a program but tends to s< Essentially, he’s a lyrical tenor man, overbalance here. the only one on this date who showed This group—and Lateef especially— et any significant potential. It is un will produce a real no-nonsense swing P fortunate that he was so shackled ing LP any minute now. It should be cl WESTLAKE COLLEGE GRAD here. worth waiting for. (R.J.G.) b BILL HOLMAN WAXES LP Ross indicates some talent, but is h too closely allied to Gerry Mulligan to Herbie Mann-Bobby Jaipur b Coral Record) ¡urt cut an LP of BILL be of vital significance at this time. FIATE SOLFFEE—Preatlge 12* LP 71011 tl HOLMAN and hi* band. Bill laarnad to Le Sage’s conception is too elementary. Aviv; Somewhere Else; Let*» March; Chuting tha spoil chord* (farting at Wattlake Collage, Blannin plays adequately. Kinsey is Bird. tl learned ear method at Wertlake also used unimpressive and, at times, oppres Personnel: Herbie Mann and Bobby Jaspar* flutea and tenors; Joe Puma, guitar; Tommy Cl by Billy Moy. Within 30 day* of Westlake sively heavy. Flanagan, piano; Wendell Marshall, basa; Bobby C< graduation, Holman got first chance to The charts are unimaginative. Sweet, Donaldson, drums. X play in big-name bands with Barnett and for example, features the ensemble Kalla, < «««* U later Kenton. carrying a chord theme solemnly while Without setting out to bash the lis b Doily band end combo, vocal training in Kinsey explodes unmventively behind tener over the head with special effects cluded in Westlake course. 2 yr. diploma this .lull front. Thi- lasts the entire or pretentious compositions, Mann and f I 4 yr. degree courses. Dorm. Appr. for length of the interpretation. Jaspar have created a very enjoyable Vets, too. In brief, I can’t believe that this LP. L kind of jazz represents the best Eng Essentially, this is a flutists’ LP, t WESTLAKE COLLEGE OF MUSIC land has to offer. With the exception with both men up to the occasion. On I 7190 Saura» Blvd., Hollywaod 40, Cai. DB112857 of Rendell, who appears to be giow- tenor, too, both play with authority, I ing, there is little of value here. but the most rewarding moments come I. Name (D.G.) in the form of flute passages. The compositions include two by d Add ran Yusef Lateef Mann, Tel Aviv and March; one by JAZZ FOR THINKERS—Savoy 12* LP MC City State 12019: H^pytbgji O'Binar; Midda-s Polarity t Puma, Somewhere, and Bird’s Chasing Each has merit, but I was most moved 8 50 Down Beal « Metaphor; Aing; Blum by Tel Aviv, a moody chart with He is capable of producing a melodic flow Paul Togawa braic overtones. On it. Mann plays rather than a succession of plucked PAUL FOCAWA/*—Mod» 13* LP IO4| On- irtU Fuller, moving alto flute and Jaspar contrib notes in a melodic pattern. ental Blue»; Lover Man; It*» All Right tricA di© Farrow, Me; Peanut»; Love for Salo; Ben*» Blue». utes some forceful tenor, with Flana Knepper’s work throughout is fine, Personnel ; Paul Togawa, drama) Gabe Balta- gan, Puma, Marshall, and Donaldson too. His often dour-toned trombone can somehow really sing, when the new De in equally pensive moods. On Somewhere, the two play both writing calls for it. Rev. Norman Ratiag: ally, he’s O’Connor recently referred to Mingus Drummer Togawa, now working on >and and tenor and flute. On March, u minor blues, and Chasing, both play flute. The as one of the “thinking jazzmen” on the west coast, spent an apprenticeship him for ...... Lionel Hampton ...’s band. . —He has t worthy latter features a fascinating series of the scene today. To that, it must be with fours. added that Mingus is also one of the worked with Baltazar in the past and On flute, Mann urges interesting sensitive jazzmen on the scene today. apparently continues to do so in his iscloses a melodic and rhythmic figures from the Judging by this LP and one forth present group. devices, instrument. Jaspar excels on tenor, coming effort, he is sensitive to the Although Togawa’s name is on the as deter gradually emerging from previous in confines which jazz can place upon it record, this date essentially is Balta- to jazz) fluences to maintain a sound and con self, as well as to the responsibility zar’s. As the sole horn in the quartet, chief of ception of his own. Flanagan is not an of a capable musician to constantly he is up front on all tunes. Although sh is de innovator, but plays in a technically seek growth. he plays with conviction and emotional en oboe fluent, inspired fashion here. Puma Nat Hentoff’s liner essay is about power, he lacks significant conceptual s a weird plays effectively, too, and Marshall and a definitive a picture of Mingus as ability. He shows some promise in the dmirably Donaldson never intrude, a great virtue there is in print. (D.C.) attempts he makes here, but is not con- style ef- in itself. Mann’s ability and Jaspar’f promise mints in are worth hearing. This contains some players of their best expressions to date. OM now yOur 1958 down beat ty spirit, (D.G.) standing, e tracks Churl«-« Mingu» Jazz Workshop annuals mood of rm. —Atlantic 12* LP 1260: Haitian Fight Song; Blue Coe; Reincarnation Of A Love an un bird; The Clown. iion. Personnel: Cherlee Mingus, bass) Curtis Por MUSIC ’58 really wraps up the year in music for you, ter, alto and tenor) Jimmy Knepper, trombone) in one bright package. Keep informed with the DOWN s a very Wade Legge, piano) Dannie Richmond, drams) se moods Jean Shepherd (track 4 only), narrator. BEAT staffers as they review jazz, popular music, i a wail Rating I A A A’A % movies, radio-tv, classics and high fidelity... and select The title piece, with its improvised food. He the best in records, photographs, and even poetry. qualities narration by satirist-monologist Jean egree in Shepherd, points apparently to u grow As always this annual is a must for your reference rticulate ing trend to mix the voice more ac shelf. Order the music annual that is most used by hear a tively with instruments in jazz. On e. Dot, there is a collection by Chicago’s disc jockeys, columnists, librarians for “everything in similar Ken Nordine which differs in concep the world about the world of music. emotion, tion from The Clown, but which is is a soiu still an attempt to work free verbal yes com association into a pattern of musical In fact sound. JAZZ RECORD REVIEWS—Vol. II brings you all the bums is Here, the effects are less spectacu jazz records as reviewed in DOWN BEAT during 1957 the mu lar than on Nordine’s recording be plus jazz reissues, all jazz record companies with ad h. cause the latter uses the human voice and its spoken story as the dominant dresses. More than 250 pages of authoritative and pro ica is ii instrument. In this collection, Shep vocative record reviews. If you buy records at all, you as been herd’s exposition of the verbal theme compost can’t be without this guide for better buying. Last that humor springs from man’s inhu year’s printing sold out, so please reserve your copy en have manity to man is alternated with a time sc musical exposition of the same theme, now. We can only print 25,000. jgh still with Knepper’s trombone the comment as yet ing instrument. n types, Shepherd has been better on his cmiruìWtmii COUNTRY & WESTERN JAMBOREE 1958 YEAR instru- WOR Sunday night radio shots. But BOOK is alive with news of country and western style । is fine in those cases, his material hasn’t been music and its increasing importance in the musical ends to so set to one theme as it is here. There world. are some sparkling times when he rock cially— This unique annual lists all major country and western ets off on a verbal tangent, pulling in artists, their recording affiliations, their managers and ■ swing- picture images from his past, American ould be agents, the parks and ballrooms they play and the in cliche-lore, advertising, people, base struments they use. ball, objects, and even thoughts. He has been hilariously, and < if ten biting- Whether you buy or book talent or simply delight in w ly, funny. This outing is not up to down-to-earth country and western music, you’ll want noil Tai the best in him. the COUNTRY & WESTERN JAMBOREE 1958 YEAR The idea is an interesting one, and BOOK. Priced at only $1.00... You’ll find it’s worth a the Mingus Workshop seems the logi great deal more! [ Tommy cal entry for the experiment. The con «। Bobby cept here is an indication to me that Fill in and mail thia coupon today! Mingus and his musicians are seeking to broaden the scope of jazz, and MAHER PUBLICATIONS. 2091 Calumet Avenue. Chicago 16. III. the lis break the bind of the often static reserve for me a copy of nach Annual I've checked below Because I effects forms into which so many groups this an advance order I understand that my annual (s) will be moiled nn and fall. to mo (postage paid) on or before I2/JI/57. joy able The remaining three tracks on the LP are all Workshop, with Reincarna □ Mesic 'M ($1 Ml ts’ Ll’, tion n stunningly moving composition. □ Jou Record Raviowv—Vol. II ($1.00) ion. On In this probing, quite lovely tribute to □ Country A Western Jombnra- 1*58 Yaor Book ($1 00) thority, Bird, Curtis Porter’s alto is lyrical and Ls come brilliant. Nam« The Fight Song is largely a dazzling Addratt wo by display of Mingus’ virtuosity. There one by are relatively few (»assists who can Stata hosing. City produce such melodic feeling. It’s as <□ my paymen* h omIosoiì) 113857 moved if, in Mingus’ hands, the instrument n Beal November 2ft, 1957 sistently inventive. He has listened to Bird and Art Pepper, and could have modern jazz begins on PRESTIGE What done worse, but should begin listening to himself. PAUL QU1NICHETTE 1103 Johnston, too, plays enthusiastically, OR THE SUNNY SIDE Makes but without the voice of an individual. with Cart!« Fallar. Jahn JanklM. Rod Kyaor, Mol Waldron Tucker contributes a walking, full- The fabuloui "Vice Fret" ond some young toned bass sound, but might benefit modernists on a happy, swinging LF. a from a session of listening to Paul Chambers or Red Mitchell to learn PHIL * QUILL WITH PRESTIGE II IS what can be attempted on the instru Phil Wood* and Gene Quill GOOD mio ment, aside from time-keeping. Togawa Two of Modern Jan'* important alto - phoniih are given a chance to "stretch supports sympathetically, with a mini out" end expreu themtelvet in an exciting mum of intrusion. album. Man The tunes are performed ably, with Baltazar particularly heated on AU EARTHY 1102 Right. On Sale, he suffers from a bad Al Coba, Hol McKusick, GREAT? Kenny Burrell, Mol Waldron splice or a strangled honk. Basically, This I* a truly relaxed all-star (onion with .. a lot of thing* beside* good training! this LP does not suffer from inade tha accent on Individual nxpreuion. But if you’ve talent . . . are in shooting quate ability. The group is professional. distance of the TOP . . . why not sharpen It is possible to be professional with your aim? out being significant and Togawa is NOVEMBER RELEASES 08 PRESTIGE Be coached on techniques . . . reviewed on the victim of the race to flood the BAGS' GROOVE 7108 fundamentals . broadened in musical the market with LPs by every contracted MILES DAVIS, SONNY ROLLINS. MILT ory nnd history. It’s the way ahead! JACKSON, THELONIOUS MONK, HOR group. Perhaps in time this group will ACE SILVER Advanca yur TRAINING at Homa make a valid contribution to the field JAMMIN' IN HI N . . . conveniently . . . tackle the weak spots of recorded jazz. At this point in its WITH GENI AMMONS 7110 In your performance. Develop that unmistak development it does not do so. (D. G.) GENE AMMONS with JACKIE McLEAN, KENNY BURRELL, IDREES SULIEMAN, able sparkle of flawless perfection . . . widen MAL WALDRON your versatility . , . accept more top jobs Gerald Wiggins MAL/2 7111 ... win over more audience. MUSIC FROM AROUND THE WORLD IN 80 MAL WALDRON with JACKIE McLEAN. Investigate PEC Advante TralklB| mw. DAYS IN MODERN J AZZ—Speel.lly 18' LP SP JOHN COLTRANE, IDREES SULIEMAN 2101t Around tho World (Port l)f Aoudaf INTERPLAY FOR Send for catalog of Course Announcements. Patiopartouti Around tho World (Port I), La 2 TRUMPETS * 2 TENORS 7111 Coquottot Around tho World (bo^tinojl Tho Check subject of most interest below. Receive IDREES SULIEMAN. WEBSTER YOUNG, free sample lesson. Write today. Korol Barge: ’Way Out Tut, Peraonnal: Gerald Wiggins, piaaa I Fngxax JOHN COLTRANE, BOBBY JASPAR Wright. baas | Bill Douglass, drams. LIST PRICE MH UNIVERSITY EXTENSION Rating t A AAA FREE CATALOG ON REQUEST " CONSERVATORY This is the kind of album that you ■ test. E-733 2000 S. MichijH, CWc*g« U can put on when you wake up in the morning, play it in between Miles and ra i» □ Dance Band Arranging □ Piano PRESTIGE RECORDS INC. B ’• □m History,u:-s— Analysisi. t..:. of■ < Musicl. □ Guitar Monk, and go out at night listening to it. It is not a great jazz LP, in the 447 west 50th street, new york 19 - □ HARMONY □ Clarinet sense that it isn’t creating any new ■ □ Trumpet □ Saxophone style or sound or conception. But it is ■ □ Advanced Composition □_ Violin firstrate music, it swings all the way, NOTES BETWEEN THE LINERS and 10 other Courses. Send for Catalog. the tunes are fine, and the perform I Name. The flrat name in modern sound«! SAVOY create« ances are excellent, with enough of a . . . others juat imitate. It’a been many yearn since Street. real jazz flavor to be acceptable at all SAVOY started pioneering modern jaaa with the B City— .Statt greater BIRD, DIZ, SHEARING, etc., and we're times. If I were reviewing this as a tiill leading the field with today’a top ereatlona. pop LP I’d rate it AA. SAVOY ia atiJ pioneering with new aounda. bright, Wiggins long has been one of my new artieta ia addition to big namee, ealibliahed atara. exciting eharts and real wild, all-out blowing favorite pianists, a musician with taste sessions. You name it . . . it’a beet on SAVOY and a consistent improvisational ability . . . the name that meins the moat la modern that is far greater than he is usually terchangeable. Technically SAVOY records are given credit for. He has a delicacy of better too, with every session recorded aod mas line in his solo flights that is sort of tered by RUDY VAN GELDER, engineering visard modern mainstream, if this makes , . and pressed Hocordt ihippod anywhoro sense. His time is excellent, particu FATS NAVARRO vinyl, n o t 90%. MODERN MUSIC larly on this album, and his lyric gifts SAVOY records 627 N. KINGSHIGHWAY are of a high order. sre the ohimsts In fine quality ST. LOUIS 8, MO., U.S.A. This is, by the way, by far the best album he has had to date. Gene Wright disks, covers and FREEI 12" JAZZ LP'* FREEI presentation. A $4.98 Value with order* of SIS or more on bass shows why he is automatically SAVOY feature al (Offer Expire* December 31, 1957) the choice for any session he’s avail bum . . . FATS able for in San Francisco, and Bill NAVARRO Memo, 12” LP* $3.98 each rial No. 1 with J. J. Johnson with Max Roach...... COL. Douglass continually lives up to Char Kenny Dorham, Miles Davis—Miles Ahead ...... COL. lie Mingus’ eight years of advance Sonny Stitt. Bud Blakey's Messengers—Hard Bop ...... COL. buildups. (RJ.G.) Powell and Kenny B. Eckstine & S Vaughan—Sing Berlin. MER. Clarke featured. A C Baker & B Shank—James Dean Story..PAC. elude remembrance of a true artist, s master of the trumpet ia one of hi* finest recorded date*. Teddy Charles—Three For The Duke, .JUB Blakey's Messengers—Cu-Bop ...... JUB Jazz Reissues Send TODAY for a complete. Informative dis Getz & Webster—Swinging Kicks... VER. cography and the lateat SAVOY catalogue FREEI The sixth release in the RCA Victor- Don't wait, write TODAY to Dept. A and your Rollins, J. J., Silver, Monk & Blakey... .B N. Free Information will be sent to yon Immediately. Kessel, Ray Brown & Manne Poll Winners CONT. Down Beat Jazz Milestone series of Lighthouse All Stars—Solo Spotlight.. .CONT. LPs consists of 16 classic sides by Fats BtCOBO CO Kenny Dorham with Rollins & Roach.... RIV. Waller, Handful of Keys (Victor LPM- Bud Powell Trio—Blues In The Closet.. .VER. 1502). The punching piano style, and SB MABKH JT Woody Herman—Jazz The Utmost ...... VER. NfWARK N J Yusef Lateef—Before Dawn ...... VER. the rakish kidding of lyrics are present Dizzy, Roy & Sweets—Tour De Force... .VER. in such as I’ll Dance at Your Wedding; Stan Getz—The Cool Sounds. .VER. Original E-Flat Blues; You're Laugh Charlie Parker Story, Vol. 1 VER. ing At Me; Ring Dem Bells; Handful PHOTOS Count Basle In London...... VER. BAND LEADERS A VOCALISTS Dizzy Gillespie In Greece... VER. of Keys; I Used To Love You, and □ Actual photo*, E"xlO", glossy print*, Seed for FREE Catalogue* Sweet and Slow. ready fo frame or put in a scrapboo«. GIANT LP-EP SALE! — FREE LIST $1.00 Depoalt oo C.O.D. Order* The history-making first Jazz at the 4 for $1. Sample photo 35c (Ind. substitutes) For a llmltod time/ fO for 22 U.S. Servicemen Oversea* — Floate Send Pay Philharmonic set originally a 78 rpm ri»*« 1143 *♦* A**-l H.V. ment With Order. Tho Port Office will not per album and later a 10-inch LP, is now KIRN'S *ot. 44th A 4S*b Sts. mit C.O.D.'* to APO or FPO eddrewet. available on a 12-inch Stinson LP 23. One side has Joe Guy, Howard McGhee, Road (with Tea’s fantastic solo), 47th Brown; Night and Day; Djangology: Charlie Ventura, Illinois Jacquet, Wil and State, That Da-Da Strain, among Nocturne; Daphine; H.C.Q. Strut, and ESTIGE lie Smith, Gene Krupa, and others giv others. Two tracks, Ginger Brown and Improvisation.i , Sound is excellent. His ing How High the Moon one of its Dinah. I am unable to account for. torically valuable, and good listening, 7103 earliest go-rounds. Backing is the same Recommended. too. group with Lady Be Good. Although In Swing from Paris (London LL Venturaville is revisited by Bruns the sound is often rather thin, and the 1344), 12 of the cream of the recorded wick in a collection called Hore’s Char ia young transition from 78s to LP is marred crop cut by the Quintet of the Hot lie (BL 54025). Jackie Cain and Roy by occasional sloppy editing, Guy and Club of France between 1937 and 1939 Kral are featured on three tracks dat McGhee sparkle in their solo spots. are gathered. Stephane Grappelly and ing from 1953: The Great Lie, The Tf IS Historically important. Django Reinhardt are featured, with Honey Jump, and Turnpike. Charlie Two important Woody Herman items backing variously by Louis Vola, bass: plays bass sax on I Love You, backed "»♦retell are available: on Harmony, Columbia’s Joseph Reinhardt, Euegene Vees, and by George Williams’ band, and also •netting $1.98 reissue label, is a collection called Roger Chaput, guitars. Tracks include pops up on baritone, tenor, and alto Bijou (Harmony HL 7013); and on Chasing Shadows; Sweet Georgia on other tracks; some with strings. 7102 Brunswick is a collection culled from cK«»Ich the pre-first Herd band of 1944 called The Swinging Herman Herd (Bruns ion wHh wick BL 54024). The Harmony LP has 10 tracks, containing all First Herd landmarks, including Bijou; Apple (TIGE Honey; Happiness Is a Thing Called with / 710* Joe; Your Father's Mustache; North 1. MILT west Passage; Goosey Gander; Wild , HOR Root; Blowin’ Up a Storm; Panacea, and Woodchopper's Ball. Involved are sounds good 711« such as Bill Harris, Neal Hefti, Pete IcLEAN. Candoli, Flip Phillips, Dave Tough, JEMAN, Billy Bauer, Ralph Burns, Chubby Jackson, and a wonderful thing called like accordion should 7111 drive. The weathervane points to the IcLEAN, ÊMAN coming of the Herd in the Bruswick collection. This transitional band, with 7112 Tough, Ray Wetzel, Candoli, Flip. OUNO, Bauer, Jackson, Johnny LaPorta, and others important to the Herd, was in a less boisterous mood, perhaps due to the Dukish cast of Dave Matthews’ writing. Ben Webster, Johnny Hodges, and Juan Tizol guest on some tracks. INC. Others show flashes of the fire that ork 19 was to come very soon. Among the tracks: I Ain’t Got Nothing But the Blues; Perdido; Cherry; Noah; a pre viously-unreleased As Long As I Live; INERS Refuse It; Ingie Speaks; Basie’s Base )Y er«atM ment, and It Must Be Jelly. Fills in reara atore some missing Herd history. with the A recent Jazztone album, avail creation», able to members of the mail order club da. bright, only, has been issued generally by Pa wtibliahrd it blowing cific Jazz as Jazz West Coast III (Jazz o SAVOY West Coast JWC-507). All the sides, n modern except one, are newly released, and include There Will Never Be Another You by the Gerry Mulligan Sextet with riurd Zoot Sims, Jon Eardley, and Bobby Brookmeyer; Mr. Smith Goes to Town ot 90%. by Chico Hamilton’s quintet; Old Croix IT record» by Art Pepper’s Quartet; Little Girl ultimate by Chet Baker’s sextet with Art Pep e quality »»era and per, Richie Kamuca, Pete Jolly, and ion. Leroy Vinnegar; among others. An latMl Prämier offering* are the result of year* centre »1 other good sampling of the California . FATS scene. ■pent in developing and on-the-job proving. Elec O Memo. 1 with Atlantic has collected a set featur tric accordion attachment*, built-in unit* and am Dorham, ing Muggsy Spanier, Sidney Bechet, plifier*. A model to *uit every need and budget — titt. Bud Doc Evans, Miff Mole, Don Ewell, and nd Kenny from »ingle microphone to multiple unit* with •lured. A sundry kindred souls, called Dixieland at Jazz, Ltd. (Atlantic 1261). Among separated bas* and treble control. Product* of ithe dia- the tracks are Maryland My Maryland, Premier, the pioneer in accordion amplification. • FREE! Tin Roof Blues, Wolverine Blues, High •nd your Society, and Maple Leaf Rag, among others. Mole has a humorous, growling solo on Tin Roof. Some routine, some SORKIN MUSIC COMPANY INC. Dtp*. DB fine. 5S9 Avenue of the America* Columbia’s $1.98 Harmony label has New York 11, N. Y. blossomed forth with some catalog items of interest. One is called Bud Please send me tret of charge the details, specifica Freeman and His All Star Jazz (Har tions and prices on the full line of Premier electric accordion attachments, built-in units and amplifier*. mony HL 7046), and it contains the Send name of Premier dealer nearest me. eight sides cut by Freeman, Max Ka minsky, Pee Wee Russell, Jack Tea Name Htufos) garden, Eddie Condon, Dave Bowman. Mort Stuhlmaker, and Dave Tough back AddreM in 1940, including At The Jazz Band Ball, Prince of Wails, Jack Hits the City. .State
November 28. 1957 gaging honesty and pulse. The sound is very good, as on all three of the tapes tapes, but I would like to see some sort he plays of tape identification made on the reel ------By Jack Tracy itself as well as the box. It’s like hav ing a record without a label. What started as a trickle is now a There are moments of jazz interest Selmer rill. Soon it may well be a flood. The on the Drew tape, but most of them I u sOX ever - increasing quantity of stereo are provided by the sterling Wilbur b phonic tape recordings being released Ware, a bassist with originality, wit, ehil indicates that the tape market is at and perception. Drew plays too floridly Sin last taking firm hold, and also that and elaborately for my taste. If this monaural tapes already are all but is intended to appeal to the cocktail obsolete. music crowd, however, it does a good Just ab< ut the most impressive group job of tapes I have yet heard has been Kenny Dorham, who has been on the issued by Mercury. Handsomely pack jazz scene since the mid-40’s but only aged, clearly labeled, and possessing recently gained much public attention magnificent sound, they mark an au as successor to Clifford Brown in Max spicious debut by the Chicago firm into Roach’s group, plays splendidly and the field. with rich sound on Larue, My Old My favorite among the pop - jazz Flame, La Villa, and Falling in Love efforts thus far released is Sarah with Love. His companions include Vaughan’s Great Songs from Hit such redoubtables as Sonny Rolling, Shows (Mercury MDS2-1), which in tenor; Hank Jones, piano; Oscar Petti cludes such tracks as Little Giri Blue, ford, bass, and Roach. Harpist Betty atr Comes Love, But Not for Me, Lucky Glamman appears only on the first me in Loi'e, September S
M Down Beat ft 'he sound ee of the some sort radio and tv a the reel like hav- z interest I used to know a little girl in bobby of the Century, that was the first show of them sox who flipped for Frank Sinatra. of the new Twentieth Century series g Wilbur on CBS. ility, wit, Now she is the mother of my five children, and she watches the Frank Made up mostly of old film clips, the X) floridly Sinatra show on TV, and I am writing program was a masterpiece of film 8. If this this column at her editing. To go with the visual bits and 5 cocktail urging. pieces from the past, Antheil made is a good The Frank Sin- effective use of bits and pieces of old atra show, I have musical ideas. It was some of the most en on the _L just been told to put stimulating listening to come out of the but only down on paper, is TV set lately. attention MRL* I I great. n in Max I ' “Endsville,” she Quote: Guest Danny Thomas, refer THE FISHER Master Control-Amplifier idly and J) suggested. (That’s a ring to Dinah Shore: “If I could sing My Old /k word she picked up like that, I’d get my nose fixed to Model CA-40 — On one compact in Love from reading a re- morrow.” chassis THE FISHER CA-40 is today’s include cent book of Max (Will Jonas* column, Alter Lett Night, appear» most versatile, advanced preamplifier Rollins, A W Shulman’s.) daily in tha Minneapolis Tribune.) with controls, and a powerful, 25-watt :ar Petti- amplifier-with less than 1% distortion ist Betty The Frank Sin at full output! The Model CA-40 has the first atra show, it has been suggested to provisions for six inputs and offers com me, is for swinging housewives who perspectives plete equalization and preamplification at Joe’s don’t necessarily find their jollies in facilities for both records and tape. The easantly- Lawrence Welk or Arthur Godfrey. By Ralph J. Gleason exclusive FISHER ToneScope visually in lat dusts “What about Perry Como?” I asked. dicates Bass and Treble Tone Control ■ites and “Pleasant,” was the answer, “but it’s not Frankie.” It doesn’t make any difference wheth settings. In flexibility, performance, and ; Boomie er or not you are particularly en styling, the Master Control-Amplifier re Mottola, Since I missed seeing the first Sin atra show, I was forced to rely upon amored of Count Basie’s extended ex flects the creative engineering that has tracks: periments in rhythm, his Basie in Lon made THE FISHER world-renowned for n Fried; the little mother’s report of what went Despite some of the terms she used, don LP seems to me to be the high spot two decades. Size*. 12%"xl0!4"x5" h. Bounce, on. of his recent recording career. O’clock I concluded her critical senses were not $139.50 completely anesthetized by blind hero That this Basie band may have its Slightly Higher in the Far Wett worship. faults, I would be the last to deny, but tape phono Sinatra sang a few bum notes and this album is so superlatively good, so Write For FULL Detalh got off a few bum gags, I was told. alive, so exciting, and so fresh, that it “But when he sings a bum note,” she seems to me it will stand up for years FlSlIER RAD incorporation ss hastened to add, “it’s a great bum to come alongside any and every ex 21-43 44th Drive • L I. City 1, N. Y. W note.” periment in jazz that will come along. She was also quick to mention that With the spate of abums being re the bum notes came, quite appropriate leased today, it is genuinely unusual ly, when Sinatra was breaking up at for one to come along that bears the something pretty clever that was hap repetition of day after day playing AttJful... usician’s pening on the program. that this one does. What the Basie Service, Once it was simply when Kim Novak band does here is done so well it fairly ART FARMER’S ovement was hanging over him blowing in his shouts for Blue Ribbons. modern, forceful trumpet a well ears and giving him warm, wide This is not to say that every band of hose in mouthed kisses. comparable size should immediately phrasmgs of 8 not- ion, in- Another time was when he had Bob scrap its book and take on a Basie over-exposed"standards’’ Hope at the piano making like an ac sound, nor that every band trying to on sale, companist, and they were doing a enlarge the scope of jazz should revert Nat Hentoff praises libraries sticky-pretty rendition of Autumn to the relative simplicity of the Basie A rt’s "lyricism, sensitivity Leaves. As Frankie sang, a leaf fell. concept. But anyone who dismisses this lusic as Then several leaves. Then many leaves. band for its limitations is missing the and subtlety.’’ ne pro- point completely. Then bushels of leaves, until he and THERE ARE, always have been, and Hope almost were buried in leaves. id copy- undoubtedly will always be, many dif The report on the show also included ferent types of jazz music which will "We 'Wctc 'Zfottety .P, and a demonstration by the little mother of ART FARMER wit» Ua QUINCY K*M «rrftMtn* t of 688 thrill the jazz fans, the same jazz fans, the strangely precise phrasing used by through and through. I recently had :ompila- guest Peggy Lee on Listen to the jockeys, the exquisite pleasure of hearing a Mocking Bird. Basie transcription cut at a dance in inagers, There were words of praise for the editors Glendale in 1939 on a portable recorder simple sets, the effective lighting, the wherein the band wailed, whispered, rs. The over-all integrity of the production. dance, and floated light as a feather through I also heard her talking it over with the old standards with Pres leaping out , opera some other little mothers at a party. rt halls, of the ensemble like Gabriel and blow “Sometimes,” said one of them, ing choruses that suddenly made every “Didn’t you just know that he was thing done in his image since then i series singing to Lauren Bacall?” ures on • * • seem superfluous. iting to Basie is dealing, has always dealt, Upon looking over the above re in fundamentals. And so, come to think , too. of it, have all the great jazzmen and bedtime marks to make sure she wasn’t mis- ?uoted, the little mother said: “You the great jazz groups. So do Miles and handy Dizzy, too, and Bird was more funda LAST NIGHT WHEN errors orgot to mention in there that I’m a WE WERE YOUNG girl who hates TV.” mental than any of his Sparrows. ARI FARMER with the tions in • • • The great jazzmen don’t have to be QUINCY JONES Orcheotra If you reminded of this and may never even ABC-200 Another thing the little mother flip think of it. But so many of the near For Free Jazz Catalogue write to me can ped over recently—and I flipped right great, the good second raters, and the CATALOOUfS ■mation alongside her—was the music George followers, would benefit so much by AK-MRAMOUNT , New Antheil whomped up to go with the protracted sessions with an album like Oegt J, ISO) R'wvy. —gold Winston Churchill documentary, Man this (Basie in London) that I wonder N.TM.N.Y. n Beat November 28, 1957 why it isn’t a prerequisite to admit tance in the union, almost. THIS BAND never loses you. Not for high fidelity one minute. One second. It is not afraid of simplicity, it is not afraid of repe tition, and it sets up a framework Under an inscrutable abstract mo which the listener’s mind retains, bile contributed by ex-Kenton guitarist against which it can do many things. Ralph Blaze, reedman - composer Bob This is the whole point. Miles does Cooper bent to place an LP record on this, too, and the others aforemen his turntable. tioned. They begin at the bottom and “Just bought this recently,” he com build up. But so many jazz LPs today mented, indicating the 3-speed Garrard begin at the top and go nowhere that 301 transcription table. “June and I you wonder, sometimes, why the people are really pleased with it—in fact, you who complain “what’s happened to mu could say it’s a gas.” He grinned and sic” don’t listen to themselves for the placed the stylus in the first track. answer. The record was a test pressing of his As Gerry Mulligan, among others, forthcoming Contemporary album, part has pointed out, if a band is really of which consists of his new Jazz good enough it pleases the public and Theme with Variations played by such the musicians and the rabid jazz fans fellow Lighthousekeepers as Frank all at the same time. Jazz is social, not Rosolino, Conte Candoli, Vic Feldman, Bob Cooper abstract music, it seems to me, and by and himself on tenor. doing it this way the listener can “Come into the living room,” Coop living room ceiling, extending over the travel along with the musician. invited, “I’d like you to hear this on fireplace and outside over the main en One of the great kicks of Basie in our new speaker.” try. The new speaker (Electro-Voice recent years for the public has been Coop, his wife, June Christy, and tri-axial 15 inch in Acoustic - Craft this sense of community enterprise. their 3-year-old daughter, Shay, live in bass-reflex enclosure) is concealed atop You’re back home again. You’re there a hillside home complying with the this shelf to the left of the flreplace. together. Without this, the jazzman is contemporary architectural principle of “ONE BIG ADVANTAGE in having playing for himself alone and sometimes structural unity throughout the dwell the speaker up there,” explained Bob, for his fellow musicians. That has ing. Part of their home’s design in “is that when you’re chatting with never, really, been enough. cludes a deep shelf running below the someone, the sound isn’t coming right in your face. Matter of faft,” he con tinued, “you can hear it more sensitive ly in the kitchen.” He walked around the partition dividing living room from kitchen, cocked an ear, and remarked, “See, tne rafters help guide the sound in a sort of natural channel, and once it gets over the partition into the kitch en it’s gone as far as it can. Sounds pretty good, doesn’t it?” Back in his studio, which is off the main hallway to the left of the front door, an inspection of the other com ponents reveals a Pickering Fluxvalve RTE Unipoise tone arm, model 194. (“This is a new unit they’ve developed, and it’s the end, believe me.”) There is also a Bogen amplifier (model DB20) and AM-FM tuner (model R640); an RC80 Garrard three speed changer with turn over cartridge and a Stevens Tru-Sonic 12 inch coaxial speaker, model 122AX, housed in an Acoustic-Craft folded cor ner horn. On the floor, underneath the manual turntable, lies a Webcor home tape recorder. Coop’s reason for not permanently enclosing any of these components in built-in cabinets: “I’m going to keep the rig loose until I have the ultimate in high quality components. But, since the companies are producing better and better quality all the time,” he reflect ed ruefully, “guess I’ll never get the rig into cabinets.” STEREOPHONIC REPRODUCTION very definitely is in the offing for Cooper. “Not only do I want a stereo rig for the playing aspects," he ex plained, “but also I want to record sessions at the house.” When he does install a stereophonic music system, the high ledge where his present Elec tro-Voice speaker is now ensconced Roy Harte, president of the Drum City School of Percussion, la should prove ideal for twin stereo presently with the Coast to Coast Tennessee Ernie TV-shows and the Hollywood NBC staff orchestra. speakers. “Afy new LEEDY drama with the NEW SOUND and STICK “Funny thing about putting the the new LEEDY SAVER hoope are the oreiteet”—Roy Harte. speaker up there,” Coop chuckled, “is Send 10c in coin or M.O. for pictures of your that I did it when June was on the STICK SAVER te. favorite Leedy drummer. road. Actually, I thought the first triple (longed thing she’d say when she got back was, counter hoop now supplied ‘That has got to come down’; but she on oil professional model really dug it.” So, it was a comedown snare drums and tom toms DRUM CO. 2249 Wayne Ave. Chicago, III. for neither the speaker nor Bob. —tynan Down Beal "We've toured over 180,000 miles with this Wurlitzer Electronic Piano and it performs like a champion" I - RALPH MARTERIE r over the i main en- ctro-Vo.ee tic - Craft ealed atop replace. in having dned Bob, ting with ling right he con- sensitive- ;d around ■oom from remarked, the sound and once the kitch- T n. Sounds is off the the front ther com- Fluxvalve 4. (“This oped, and ere is also B20) and an RC80 with turn- its fascinating tone never goes out of tune Tru-Sonic el 122AX, olded cor- neath the >cor home •manently onents in With such a busy schedule, Ralph Marterie says his orchestra ' to keep needs a piano that can be depended upon for a smooth ! ultimate performance every time. That’s why he chose the rugged But, since Wurlitzer Electronic Piano . . . it’s unaffected by temperature better and be reflect- and humidity conditions, it just cant go out of tune! r get the The versatility of the Wurlitzer Electronic Piano makes it a natural for dance bands, combos, rhythm sections, vocal groups. JUCTION tffing for Volume control can be adjusted for accompaniment or solo ; a stereo work — earphones plug in for “silent” playing during ,” he ex- practice or arranging sessions. to record n he does Plug in a microphone, electric guitar or other instrument pickups I““------Mail Tbit Coupon Today For Corr-kle Defa ': c system, . . . the combined sounds come through the piano’s speaker sent Elec- for exciting new effects. You’ll cheer its light weight — only ensconced The Wurlitzer Company in stereo 68 pounds. For easy portability the legs unscrew and store Dept. 1157, DeKalb, Illinois in the handy porta-cover. And its low cost will amaze you. Please send me information on the Wurlitzer Elec- tting the tronic Piano. ckled, “is Wurlitzer—World'« Largert guilder is on the of Quality Keyboard lastniments Name the first back was, Street ; but she comedown WurliTzer City Job. State —tynau town Beal November 28. 1957 these are not justifiably categorized as jazz, for review in that section of the tangents magazine, but they do deserve mention here. ______By Don Gold Palo Congo (Blue Note 1561) fea tures the Afro-Cuban rhythmic fury of Linotype operators make mistakes. So should have read "umbilical,” just be a group headed by Sabu L. Martinez. do writerg. tween us siblings. Sabu has worked with Dizzy Gillespie, Sometimes these errors turn out to A note from Andre Previn reveals Charlie Parker, and Thelonious Monk, be humorous; sometimes they’re un that he is being persecuted by fellow but is more concerned with Afro-Cuban fortunate. musicians as the result of a typograph percussion than jazz here. Joined by In the Oct. 31 issue of Down Beat, ical error in the Cross Section of five percussionists and two vocalists, I fell victim to two such goofs and feei Previn which appeared in the same Sabu leads the group through a fasci obligated to correct them here. issue. He claims he’s being accused of nating series of tunes. A variety of For those readers who, like Ralph falsifying his age, since the Cross Sec drums are employed, including the Gleason, are concerned with neologism, tion noted that he was born in 1921. quinto, golpe, tumbadore, and llamador. I did not engage in this form of sport Previn was born in 1929, regardless The product, as annotator Hsio Wen in my use of the adjective which de of what any linotype operator says. Shih points out, is “a happy trip to a fined my loyalty to Billie Holiday in Assorted Rhythms: Several worth musical world with rather different my record review of her latest Verve while LPs based on concepts of rhythm rules.” LP. It emerged as “unbilical.” It have been released recently. Some of The Story of Moondog (Prestige 7099) is another chapter in the musical experimentation of this individualist. The 14 tracks included in this collection are decorated with Moondog’s rhythmic "make mine MAGNATONE ... ” concepts. Included are several instru-. ments invented by Moondog—the oo, a triangular stringed instrument struck with a clave; the trimba, a triangular shaped drum; a yukh, a log suspended from a tripod and struck with two rubber mallets held in the right hand, and the tuji, a series of mounted sticks of graduated lengths. The results are fascinating, for the most part. Trutone, a South African label, has two LPs available of interest to state side record buyers. Jazz from the Township (Trutone 2000) features na tive music on pennywhistles, by vocal groups, and a sample of Zulu music. There’s a version, too, of I’ll Never Say Never Again, Again, by Simon (Blues) Titaba, and a penny whistle group ren dition of In the Mood. Music Was Born in Africa (Trutone 2002) is an addi tional sampling of contemporary Afri can music, including performances of Tenderly, Dinah, and Tell Me How Long the Train's Been Gone. The LPs present an interesting view of modern African music and the influence our own popular and jazz music has had on it. The sides are distributed by P.A.R.S.C., P.O. Box 9299, Johannes burg, Union of South Africa; interest ed readers can write directly to the d D< distributor for information. Random Thoughts: It seems to me 3 yea that singers performing Rodgers and (78 is ... says world's accordion champion Johnny LaPadula Hart tunes be made to appreciate the verses accompanying many of them. JOHNNY LA PADULA, winner of the World’s Championship. 1956. is rapidly becoming Actually, of course, there are many the star of the professional world. Johnny, who has already appeared and won an untouched verses by a variety of com Arthur Godfrey's Talent Scout spot and a guest appearance on the Lawrence Welk petent songwriters and it seems a rath er sad commentary on our rushed ex show, can now be seen and heard on CBS. Channel 2, for Panorama Pacific. istence that few singers bother to ab Johnny's fast rise to stardom is due not only to his fine artistry, but also because sorb them. E he is never satisfied with less than perfection in both his performance and hl* If there is any truth to rumor, the Dizzy Gillespie band may be tossed to ME Equipment the winds soon. As far as I’m con Johnny is using the Magnatone Custom 280 accordion amplifier with the patented cerned, this would be a great loss to Vastnes* and Vibrato which creates the all new "Double V" Sound. Johnny says: jazz and the entire field of music. If DRES' “My thank* to Magnatone for giving the accordion a whole new combination of we cannot sustain the existence of the band we sent abroad to represent us, Y sounds besides faithfully reproducing and enhancing the natural tone quality of the there is little that can be said for the instrument." so-called support of the jazz audience. What is even more important, the Gil lespie band reflects the best traditions of jazz composition, including a splen for free catalog write: did array of charts by such able con temporary writers as Quincy Jones, I MAGNA ELECTRONICS CO. Ernie Wilkins, and the constantly- TWT growing Benny Golson. ■BiyjHR/ DEPT. 100 If it disappears, some of the heart INGLEWOOD CALIFORNIA will leave jazz. And for a form that wears its heart on its sleeve, this would be unfortunate.
Down Beat prized as bn of the I mention
»61) fea- r Ic fury of IVIaitimz. iGillespio, lu Monk, Iro-Cuban loined by I vocalists, h a fasci- I priety of I ping the I llamador. I Isio Wen I trip to a I different I
Hi r I htnje H* musical Hi .duali ' Hi,-I'ret n Hrhjthmic Hl instru- Bthe oo, a Bit struck friangular Buspended Kvith two Iht hand, ■teil sticks ■suits are It. label, has I to state- ¡rom the Itures na- I I by vocal Blu music, ■eeer Say I (Blues) Iroup ren- IVas Bom I an addi- lary Afri- hances of iMe How I The LPs I If modern fence our has had buted by Subscription Order Form uohannes- [ interest- h to the DOWN BEAT to me every 2 weeks for
he to me ) years at $16 □ 2 years at $12 Pi I year at $7 Igers and (78 issues) (52 issues) eciate the (26 issues) of them, kre many |r of com- No e«tra postage for Canada or Pan American; Add is a rath- ushed ex- er to ab- □ Payment enclosed I I Bill me nnor, the tossed to ME I’m con it loss to music. If »RESS _ ice of the esent us, d for the audience. ;, the Gil- traditions f a splen- able con ey Jones, mstantly- the heart
its heart ’ortunate.
*n Beat
Mat's Wits By Leonard Feather Mat Mathews learned about jazz the hard way—the very hard way. When his native Holland was overrun by the Nazis and he was in danger of being corralled into forced labor for the Fuehrer, Mat took up music because those engaged in cultural occupations were, at least during the early stage of the occupation, excused from duty. It took several years of torment and peril, a desperate escape from a Germany-bound prisoners’ train, a seige in a concentration camp, and three years hiding out in the attic of his mother’s house, before the armistice and the impact of AFN broadcasts enabled him to form a direct link with jazz. For Mat’s Blindfold Test he was confronted with a variety of sounds, mostly modern, but with a couple of not-so-new aceordion items thrown in. Mat was given no information at all, before or during the tape-recorded interview, about the records he heard.
The Records B. Turk Murphy, Jelly Roll Bluet (Columbia). take (Prestige). De vis, trumpet; Sonny Rol Rae. 1955. I. Nat Pierce quintet. By the Way (Coral) lins, first tenor sax; Charlie Perker, second That sounds kind of happy. I don’t tenor; Walter Bishop, piano; Philly Joe & arr ; Dick Wetmore, violin; Oscar Petti, know who they are. It’s probably an Jones, drums, original Dixieland group and I don’t ford, bass. I don’t think these are the original I guess this is Nat Pierce, although know too much about Dixieland. It Jazz Messengers. I’m going to guess at sounded honest to me very old. It he plays a little differently here than this. I’ll guess Kenny Dorham and I know him. I like the record very much swung, too. I liked the feel of it . . , Mobley maybe. I’m not quite sure, but Has a nice flow. I’ll give this four stars. because it has an honest feel to it— I like what I heard. It gets kind of not trying to do anything unusual. It rough in spots in the ensembles. The has a nice quality. I would give this drums puzzle me a little, too. There are 9. Clara Bryant. TL» Cant Be Love (Mode). four stars. The contrast between the influences of Kenny Clarke and influ Clora Bryant, trumpet and vocal. bass and the violin is very effective, ences of Blakey—also Philly Joe Jones. I don’t know who they are but they’re I think it’s Kenny Dorham, though, and marching along happily. I also don’t 2. Tao Macero. Jutt Spring (Prestige). Ma- I would give it four stars. know who the vocalist is. She sounds good, but I don’t recognize the voice Waldron, piano; Addison Farmer, bass; ... I thought of traces of Carmen W Luon Sa»h. Fait Operation (Sioryville) Jerry Segal, drums. McRae and yet I don’t think it is I don’t know who it is. Sounded like Sash, accordion. It’s Leon Sash The only thing Carmen at all. I can’t recognize the Milt Jackson at times No, I don’t trumpet, but I like it. I’ll give it four think it is Jackson Somebody who is I can say for this is that it’s good . . . stars. influenced by him, though. The rhythm I know how difficult it is to play this section is nice, but somehow it leaves stuff on an accordion, but I’m afraid me unsatisfied. I would give this two- there are too many notes for my taste. 10. George Shearing quintet Four Ban Short and-a-half stars. It is what I would It’s also rather old fashioned bebop (Savoy). Shearing, accordion; Chuck cal) a harmonic tune circling around (I don’t like to use that word). There Wayne, guitar; Margie Hyams, piano; chord changes from one end to the is a tenseness—it’s not relaxed enough John Levy, bass; Denzil Best, drums. Rec. other. It doesn’t spread enough and it for me. I wish they would play a little 1949. gets monotonous. less notes and more jazz figures. A I think this is Shearing playing ac figure that sounds good a piano cordion with the earliest Shearing com FIRST CLASS 3. Benny Goodman. Music, Maeitro. Fleaio sounds ridiculous on an accordion. It bination—Hyams and Wayne. He plays (Capitol). Ernie Felice, accordion. Rec. gets mechanical and tense. But for FermH Nn llll nice; that early bebop style. Ha! 1947. the effort and for his tremendous ca There’s that word again! I would give Chicago. III. I kind of like that and 1 suspect it pacity as a technician, I would give this three-and-a-half. He tried phras is Benny Goodman featuring Ernie Fe- this three-and-a-half. ing with the bellows and it’s kind of a and the record rerecorded pianistic approach to accordion play .oniehow and they added some echo. I 7. Gene Krupa Quartet. Tenderly (ARS). Ed ing. The guitar has a nice sound . . . like what Felice did there better than die Shu, tenor and elto; Bobby Scott, It’s a little muted. In the old style the other things I’ve heard, although it piano; John Drew, bess. guitar put on all those lows; but it’s seems there are too many high sounds I don’t know who this is—both the a nice sound, without distortion. And in these things. It gets to be very high piano and the alto have a very good I guess it’s John Levy and Denzil Best. and it’s dangerous. I like highs, but if technique and good command of the there are too many it makes the record instrument. In the beginning it was Afterthoughts ing harsh. So a little unnatural sound a tenor player and it might be some 1 would have given five stars to might help, since the accordion is a body doubling. Let me see—tenor play- of Miles’ things of Dizzy’s, El d fficult instrument to record anyway. who doubb the beginning it lington’s and Monk’s. Also Billie Holi He gets a nice feel and the whole thing sounded like Zoot Sims. I haven’t heard day’s; Art Tatum’s . . . Some of Erroll is kind of happy. I like the record and Zoot much on alto and I’ll guess that’s Garner’s sides are five stars for me; would give it three-and-a-half stars. who it is. Lester Young, Coleman Hawkins, and Count Basie did some fantastic things, 4 Pat Moran quartet. I'll Be Around (Beth The piano touch is fine too. Not all of their stuff, but some of lehem). kind of piano, but the notes are too the best of those people. I would give I don’t know who this is and I’m not much in the same direction. The ac five stars to Billie Holiday’s You’re My going to guess. The vocal group sound companiment is very crisp, a little too Thrill. ed all right. I like the arrangement, much for my taste, especially at the too It didn’t do anything fantastic, but beginning of the record. The bass and I like Pete Jolly on accordion, and had better taste than most of the vocal drums sound good, but I don’t know I’d give five stars to some things by groups. It wasn’t offensive. Most groups who they are. I would give this four these people; Django Reinhardt, Bird, get sort of hip-like without feeling what stars because there’s more music in the Modern Jazz Quartet; som of the it’s supposed to be. I would give this volved in this than in some of the sides by Getz and Brookmeyer Gerry about three stars. •ther records I’ve heard. Mulligan and Jimmy Giuffre.
November 28, 1957 By John Tynan
Films in review: Pal Joey (Rita Hay worth, Frank Sinatra. Kim Novak, with Bobby Sherwood. Prom the musi cal play by Jonn O’Hara, Richard Rodgers, and Lorenz Hart. An Essex George Sidney production for Colum bia Pictures.) There is nothing in this production of the racy Broadway musical that first stirred titters almost 17 years ago to suggest why it should not be nominated for an Academy Award as the year’s best wedding of song and comedy. As in his characterization of Pvt Maggio in From Here to Eternity, Frank Sinatra is the perfect Joey Evans, u wisecracking bounder whe can’t say no to an inviting derriere. For obvious reasons, his role is that of a singer, an unimportant change from the original Joey who hoofed for his bread. Similarly, the locale has been changed from Chicago to San Francisco which, LEON SASH world’s greatest accordionist! photographically speaking, is all to the good inasmuch as it offers some excel lent scenes—in color, naturally—of the Heat the new exciting bay and Golden Gate span. sound of the Giulietti As Linda English, Kim Novak is "Accordion ot Tomor —SQHJLIETTI curvincing as the bovinely sexy chor row" played by Leon ine wh-* wears down her pet heel. Her Sash on latest Story- LEON SASH SAYS “Truly today’s last word in rendition of Funny Valentine, the only ville record STEP 917 accordion perfection with a dynamic new sound ” vocal chore assigned Kim, is well sung "•ith ann^opriat'' «nntinicntality by the hr information togardmy
Axidentals
Down Beat ■ crashed • set includ- Nice JI <>rl; i I tiff er, nee ? 1 ou .4 ny summs? Bustut' Out Whafs the sard tf Arts Where You ogers, Holi- us and dec ike ye olde A. new’ book just out titled Jazz Accordion reveals the inside js well, too, story about Art Van Damme and his Quintet. Tells how he iidn’t study e group as got where he is today, how you can get there too. and lots tself makes more besides. appearance, anized, but And there’s a special Columbia jazz record cut by the man allad or two which they himself to go with the book which contains two original Van hum tempo. Damme scores. enough to unds of the The Jazz Accordion book. complete with jazz record, costs one having to >r their own dollar. You may pick up your copy at any Excelsior dealer’s iderable wit or send in the coupon if you wish. Better hurry though, the inherent in first edition is limited. pening night il stoical trade, was the group’s substantial
The mein- onable indi nstand, they fht in being g. Offstand,
Vith consid- id enviable » could put e. Although g for ABC potential is should sell •ould be an ncert tours, serve abun- Their full table. i Is ate four g forces to sound. I’d the Four and the Lox dentals will know that i front run-
Art Van Damme and his electronic excelsiola
EXCELSIOR ACCORDIONS. INC. Dept. 3 333 Sixth Avenu®, New York. N Y.
Here's my dollar. Please send Jazz Accordion book and record postpaid
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Down Beat Now ember 28. 1957 1
Art Van Damme “I have an accordion solo book com EXCLUSIVE ing out very soon. It gives me, at last, (Continued from Page 17) the chance to write things I want to But we had to take a week off from write, as I play them, not in simplified NBC to accept the job. form,” he says. “I’d like to do more such dates. His use of the term "simplified” ia There’s only one problem—money. Our not meant to indicate any scorn for the Wa salary and hours at NBC are too fine “simplified method” of instruction. to give up. I’d like to play just for “It’s just that I feel you can’t teach ARTIST playing, for two months a year. As a small children to play jazz. You must matter of fact, NBC has given us per study to learn your instrument first. “ jU? Sorcio mission to do so during the slack time You must know harmony and composi Electronic of year at the station. So now we have tion. Your accordion must respond to Model SS-2C to prove to club owners that we’re your touch immediately. That's why my Tone Chamber worth the money we want. If we book is not meant for people with little Accordion. weren’t working at NBC, I’d be happy training,” he notes. to take any club date, but we’ve got a good job here,” he concludes. In the Dec 1, 1954, issue of Down In the group’s first extended time off Beat, Van Damme wrote, “I’m firmly from NBC work, it will make a concert convinced that, because of better teach tour, now being set up, next year. Until ing, jazz accoidion players of tomor then, there’s enough work at the sta row are going to be much better than tion to keep the group busy. A week’s today. The groundwork is there. There’« work for the group includes a three a place for the instrument in the jazi afternoon appearance on the network field. Howard Miller TV show, a two evening “And, thanks to the advances of the jierformance on NBC - radio’s Chan last 15 years, one thing is certain: show, and a pre-recorded effort for a when you strap on that accordion, you late evening radio show. don’t have to play O Sole Mio" VAN DAMME, however, is not one Five days a week, at NBC-Chicago, for spare time leisure. He keeps busy, Van Damme and his men are reinforc planning the concert tour, writing, and ing that statement and subtly support working on accordion folios. ing the jazz they respect.
JoU^aftidafo 1954 World Accordion Champion .. . first prize on Arthur Godfrey's Talent Scouts guest artist, Jin mu Lawrence Welle's Top Tunes and and New Talent show .. . now appearing on television and in loading spots
Ask about the new Jthnny LaPaduio Fan Club
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PACIFIC MUSIC WPlr C" 1143 $. Santee St. Los Angeles 15 SONOLA ACCORDION CO., INC 300 Observer Highway, Hoboken, N J.- TARC A (INNER, INC. 425 S. Wabash Ave"ue, Chicago 5, III. Here • the melody line on an Art Van Damme original, followed by u typical improvised solo as the accordionist would play it.
44 Down Beat book coni le, at last, I want to simplified plified” is rn for the ct ion. in’t teach You m ist lent fi’ st composi- espond to That country music s why my with little nf Dtam ’m firmly ter teach if tomor- tter than b. There’s when the jazz
»8 of the certain: dion, you
-Chicago, reinforo- support-
starts squeezin' his
Jimmy Dean and his gang of country music stars are heard mornings, evenings, and Saturdays at mid-day over CBS-TV ¿Jailape
‘Just buminin’ around How that music rolls out, and you find yourself hummin’ right along with Jimmy! It takes a Dallape to give Jimmy Dean what he wants from an accordion. It answers him fast and easy for a country pop tune or a hillbilly ballad, for Dixieland swing or a Sunday evening song. It has the rich, beautiful tone and the terrific carrying power that reaches right out and talks to millions for Jimmy and his gang, TV’s brightest country music stars, number their fans by the million. Jimmy’s Dallape is the amazingly versatile Super Maestro, perfected to meet the exacting demands of the best and busiest professional artists.
DALLAPE—Since 1877 Makers of Accordion* of the Highest Character CHICAGO MUSICAL INSTRUMENT CO. • CHICAGO 30, ILLINOIS Exclusive Distributors: Dallaps, Scandali!, Camerano Accordion* iwn Bruì turkey trot specialty number,” and when a short time later they trans ferred to the Beaux Arts at 40th St. the hot box and Sixth Ave., they were called “The By George Hoefer best Negro band extant, who besides playing ragtime present an extensive His obituary in Variety called him jazz to London in 1914 and to Paris in program of high class music.” Mitchel! E VERI “a forgotten jazz great,” yet his name 1916. He operated the Grand Duc night gave Goffin the personnel of this band inemh does not appear in any of the various club in Pans for several years, and as follows: P. Jones, piano; Vance idea, jazz reference books, except the one said it was there that Cole Porter Lowry, banjo; J. Hope, bandoline; W. ing written by Robert Goffin of Belgium wrote Begin the Beguine on a table Riley, cello; Mitchell, drums. Tins Dizzy in 1944. His name cloth. Mitchell’s career was a colorful group was also reported to have played was Louis Mitchell one and has interested both Sammy Reisenweber’s in 1914, three years be and he died in ob Davis Jr. and Harry Belafonte to the fore tne arrival of the Original Dixie scurity in Washing extent that they both have expressed land Band. ton, D.C., last Sep interest in doing a film biography of Goffin first heard the band in 1918, tember. Mitchell. when Mitchell returned to Europe after Mitchell was born Robert Goffin in the above-mentioned leaving because of the war in 1916. in Philadelphia in book, Jazz f rom the Congo to the Met Mitchell had become known as the 1885, and after try ropolitan, devotes quite a few pages to “noise artist supreme” and “the world’s ing for a theatrical Mitchell’s European triumphs and the greatest trap drummer,” and in addi career finally set influence he himself derived from lis tion was an accomplished tenor soloist. tled for a set of tening and talking to Mitchell. While back in the States he had been drums. He became a YOUNG DRUMMER MITCHELL featured as vocalist with James Reese bandleader and was traveled with minstrel shows until Europe’s 75-piece concert orchestra credited with having early 1912, at which time he left the from the Clef club. retail one of the first jazz hands in New- stage to form an orchestra called the LOUIS MITCHELL was riding high agan York City as well as being the first Southern Symphony quintet. They in Paris with all the excitement and and i Negro to plaj in a London West End opened in April, 1912, at the Taverne tht seeking aftei pleasure at the close lems theater. He often said it was Irving Louis, located in the Flatiron building, of World War I. He worked with many over Berlin who encouraged him to take his New- York City. They featured, “re famed personalities and performed foi thouj band to Europe, where he introduced fined music and singing along with a the Prince of W’ales, Rudolph Valen Th tino, Al Jolson, the Dolly Sisters, and made many others. Vernon and Irene Castle, irres the famed dance team, wrote to him sonoi for his advice on the latest rags. Dur simp ing his Parisian days he led a band rem a called Mitchell’s Jazz Kings, which ac ting cording to Goffin included at various teris says DOWN BEAT of times Sidney Bechet; Cricket Smith, unac trumpet; Frank Withers, trombone; if ai Walter Kildare, piano. It was tiieir pel f DOM FRONTIERE and his music that gave Goffin his lifelong in face terest in American jazz. Their reper out 1 ELDORADO accordion: toire included such tunes as Jadu, By solo custom-built by La Tosca Heck, Hindustan, Panama, and I’ll See You in C-U-B-A. 01 Also, according to Goffin, the Mitchell it al Jazz Kings made the first jazz record ing ings in Europe for the Pathe label. as, 1 Goffin states it is “unlikely that any who copies of these records are still in ex exac istence.” He recalls the tunes as being deal "In the hands When Buddha Smiles, Peaches, Bright exci’ Eyes, and Jada. of a master Mitchell had a propensity for shoot disc, ing dice and playing the horses, and tic : in fact was reported to have won the much more Grand Duc cabaret in a dice game. idea After making and losing a great deal Holl than a polka of money in Europe, he finally reached stri i then end of hi» road to fame, and re pick turned to the United States to live the •Join party instrument” last 30 years of his life in complete dies obscurity. inai Louis Mitchell was no doubt a great at In a recent review- of Dom and his newest Liberty album “Dom ragtime and early jazz entertainer, but Frontiere Plays the Classics” (LPR 3032) down beat calls Dorn’s his music was most probably a long vict playing “brilliant — dazzling — a crisp, sure sound.” way from the New Orleans jazz tradi tion of the King Oliver school. Dom is a talented young Hollywood artist nnd composer. The eldorado H he owns and plays is a custom-built accordion for professionals who appreciate what magnificent tone; fast, truly silent action How High The...... can do for their playing. sma New York—One of the ques Judge for yourself Eldorado’s rich, full sound; unlimited performance. tions submitted to Mutual’s Ask late Listen to Dorn’s new album Then play the eldorado. (Your dealer the Stars department for Band awi will be happy to make one available.) You’ll see (and hear) why Dom stand USA came from a California woman who asked: “How many mal and so many other top pros call eldorado “the finest accordion Tin Pan Alley pieces have been th ii investment you can make.” written to herald the creation of cou Write for your FREE copy of Gretach’o Sputnik?” sue new La Totca Accordion Catalog. Before closing, she added, “As Show» Eldorado and complete La Totra line. far as I’m concerned, we’ve got the flee edge on this Sputnick—American m< i The FRED. GRETSCH Mfg. Co., Dept. DB-117 jazz is always out of this world.” cun of GRETSCH 60 Broadway, Brooklyn 11, N.Y. Down Beat iber,” and hey trans it 40th St. ailed “The ba r ry ulanov ho besides Accordion Buyers' Guide extensive Mitchell Every few years somebody m jazz re If you wish complete information on accordions, or accordion accessories this band members strings. Wouldn’t it be a good such as amplifiers, we recommend your careful attention to ihe manufacturers io ; Vance idea, he muses, to combine that swing- listed lielo» advertising in this issue. If you wish to receive such material, merely ioline ; W. ng tenor with strings? Why not ims. This Dizzy? Or Bird? Chet Baker or Phineas indicate in the box provided and mail entire coupon to Readers’ Service, DOWN ave played Newborn? And the BEAT. 2001 Calumet, Chicago 16, Illinois. years ije- combination is ef nal Dixie fected and the re ACCORDION A ACCORDION cording made und BRAND NAME ACCESSORY» M INI FACH REHS ADDRESS 1 in 1918, it’s good. And then, Dallape Chicago Munirai Instrument Co. 7373 N. Cicero Ave., Chgo. 30, III. rope after for a few years, at Excelnior Accordion. Ine. 333 Sixth Ave., N.Y. It, N.Y. Eldorado The Fred. Gretarh Mfg. Co. 60 Broadway, Hrookhn 1 1, N.Y. ■ in 1916. the very least, ev 308 E. Fifth St., Santa Ana, Calif. n as the erybody in jazz for he world’s gets strings. Giulietti Giulietti iceordion Corp. UO Fourth Ur NYC 10 ••Cuetom 280** Magna Electronics Inglewood, Calif. 1 in addi- What a waste! SonoIn Accordion Co., Ine. 300 Obarrver Hwy., Hoboken, NJ. lor soloist, All that effort had been erased, like so many tnes Reese fluffs from a tape. You may also be interented in receiving material from the following prominent orchestra Little gained, less accordion Manufacturers. retained. And when the time comes Scandali! ding high again to record a jazzman of stature Bell ment and and sensitivity with strings, the prob Cellini lems must be examined and solved all Camerano the close Chicago Musical Instrument Co. 7373 N. Cicero Ave.. Chgo. 30, III. vith many over again—from scratch, the kind we Buegeleiwen A Jaeobso«, Ine. ormed for thought went out with shellac. Bon vieini dee trocho rd ph Valen- The attempts must be made, will be Mediachord Bonvicini lee ordion Co. sters, and made, again and again, for it’s an ne Castle, irresistible matching of textures and Galanti A Bro«., Ine. 8 IO Broadway. NY’C te to him sonorities. Strings, even in the most 60 Broadway. Brooklyn. N.Y. ags. Dur- simple of scorings, support jazz horns Serenell! H erahnt an Musical ln»t. Co. d a band remarkably well. They provide a set Lindo which ac Imperial Tonemaster ting against which some of the charac Chambertone t various teristic procedures of jazz take on an Imperial Accordion Mfg. Co. 2610 W. 59th St., Chgo. 29, 111. et Smith, unaccustomed ekiquence and very little M. Hohner, Ine. 351 Fourth Av«., NY’C IO rombone; if any of the vitality of a true jazz ‘•Classic** vas tneir performance is lost. V. ha on the sur ••Golden Chorus** felong 111- face appears mere novelty often turns International Accordion Mfg. Co. 21330 Gratiot Ave.. E. Detroit. Mich. eir reper out to be a really valuable matching of Jada, By solo lines and background sounds. ai I’ll Sei OF COURSE, AS things stand now, Major Line 3111 E. Da*Ì*on Av«., Detroit Mich. e Mitchell it all depends on the soloist. The writ Major Arcordion Co. cz record- ing for strings back of Chet or Phine Vallan! he label, as, Bird or Dizzy, and the few others P who have made the experiment has not h Panrordion. Ind. 601 U 26th St., NYC I that any r Pollina iceordion Mfg. Co. 6921 Gratiot Ave.. Detroit. Mich. ;ili in ex exactly been startling. Without the n as being clear interest—and sometimes more, r Sonolu Accordion 300 Observer Hwv„ Hoboken, NJ. s, Brig lit excitement--of the stars of the several Harmonium 859 E. Allegheny kve.. Phil. 31. Pa. occasions, the results would have been r 425 S. 9 »ba»h Ave,. Chgo. 5. 111. disconnected at the very least, dyspep Titano 1305 U. Lake St.. Mpl». 8. Minn. or shoot- DeKalb* lllinoi» rses, and tic ;;nd depressing at the worst. The Rudolph Wurlitaer Co. won the Dizzy was fascinated by the whole ce game, idea. I was at one of the sessions in reat deal Hollywood at which he recorded with f reached string and remember how eagerly he , and re picked up on each of the effective lines Music Publishers ) live the •Johnny Richards had written for fid complete dles, violas, and friends. For all the (Ed. following local dealers; or we would be inadequacy of rehearsal and recording glad to have them ».nd material to you. if you »o indicate in the box provided. St nd to Don n Beat t a great at a level well below present-day Headers Sm tee. jOOI S. Calumet. Chgo. 16, III.) liner, but standards, those sides still have a con ; a long viction, a brightness, a musicianly size □ klfrrd Mu<*ir Pub Häher», 15th St., Edwin II. Morri*. 35 St.. N.Y. Lzz tradi- that few others made at the same time Frank Bortoli, 217 E. < hirugo Alpha Mti»ir Co., SOI Mndiaon Ave., N.Y. n 1. ran boast. Anaociaied Muaic Publisher», 589 Fifth (e/o MPHC) Bird was not merely taken by Munie Corp., 1650 Broad- it rings: he took them over. Many of >9 Seventh Ave., N.Y 322 M 18th Si you will remember his tours with a 30 57th Si., N.Y. H o., 116 Iio «1st on St.. n Mu-dr Publisher» Holding Corp. (MPHCL small chamber group, rapturous 188 Madison Ave., N.Y. ques- venings at Birdland, and others of his O. Pagani A Bros., Ine., 289 Bleecker St. ’s Asi: lat< night domiciles, blowing happily Bregman. V IO1M Band- away at something like the pace and Broadway. Pemora Mu«ie Co., 1619 Broadway, N.Y. Chappell A RKO lluUdlng, n Pietro Deiro Publication», 133 Seventh iforma with something like the distinction that □ many makes his best sides with strings some □ 50-62 ï been thing very close to his best sides, He Ricordi A Co., Inc., 132 W. 21ot St., ion of could literally hear himself think with □ □ such an accompaniment and the listen □ Chart Muaic Publishing Hou Ml. 506 S. Chicano 1, “As er gains accordingly from incisively in □ jot the flected lines in which each of the seg □ □ Southern Music Publishing 1619 lerican ments of a carefully developed idea ■ Co., 163 W. 23rd can be heard falling into place. In spite Music Publisher«, vorld.” 53 th * of the thoroughly conventional back n Im a rd IL Mark» MuUe Corp., RCA Build ground provided by the strings, or ing, Radio City. N.Y. n »n Beat Nov ember 28, 1957 47 perhaps even because of it, Charlie FOR QUITE A WHILE, too, we centered, apparently directed at ad Parker made Just Friends into a ma- will—some of us, anyway—listen with mirers of a well-mannered sort of pop iestic piece of jazz, one of the most pleasure to the aforementioned outings ular music with just the slightest of breathtaking solos on record. with strings of the Baker horn and jazz overtones. But those overtones, The list of accomplishments with Newborn keyboard. Apart from Chet’s upon repeated hearing, turn out to br strings, bona fide jazz accomplishments, early work on records with Gerry Mul more than merely slight and well-man is not long, but there have been more ligan there is no more felicitous repre nered: Phineas has taken advantage of than most of us usually remember. In sentation of his muted personality that the setting, lushness and all, to present the Norman Granz undertaking of I know than this one with strings. It the listener with countermelodies, with nearly a decade ago, The Jazz Scene, has always been a most persuasive in variations on the familiar themes, that there were some courageous collabora troduction to the sounds and thinking bring him close to a fresh and win tions of this kind. Duke Ellington’s un of his school of moderns for those who ningly unpretentious kind of modern ostentatious but altogether deft pairing do not know much of the jazz of the jazz. post-war era or particularly care for of Harry Carney and strings, Frustra ONLY A HANDFUL of fiddler» tion, did not — happily — in the least what little they have heard of it. It’s a pleasing initiation for good reason: have ever been able to turn their in live up to its title. George Handy’s struments into effective jazz voices. The Blooe still fires my imagination. It the ear is not encumbered with a half dozen repetitions of the same set of But a great many more performers on may not have absolute coherence—what other horns, men of unmistakable tal first-rate art in our times does? It sounds and ideas. Chet, with occasional assistance from Russ Freeman, carves ent, have been capable of jazz of high does put strings and woodwinds and moment with strings, strings for the jazz in the same room successfully. his own clear way through simple but most part ineptly attached. The possi And so does Neal Hefti’s less ambi not cold surroundings. bilities in the hands of such a writer tious Latin-American adventure for A similar amiability pervades the as Duke or Handy, one of the fine staff strings and Charlie Parker, Repetition. Newborn affair with strings. Much of Dizzy has gathered around him or one These performances, on paper and on the time the performances hover over of the soloists themselves—the possi instruments, are still very much worth the unhallowed ground of studio-band bilities are boundless. For that reason, recalling. music: it’s mostly lush and melody- even such a compromise among jazz man-cum-strings combinations as the recent Newborn LP commands serious attention. Now do we have to wait an other few years before anybody does anything more? 1 INTERNATIONALLY Rer^ee J as the ".EDUCATIONAL CENTER my favorite for the jazz record STUDY OF JAZZ (Ed. Note: Following M the nth pnuv- winning letter in Down Beat’s favorite laze record content. The 410 prize goet to J. S Yancey, 150.9 Anthony St., Columbia, Mo. Entire Curriculum Devoted Exclusively to Music (You can win 410, too. and tee your view, on jazz in print. by telling ue, in t50 word» or fewer, which »election tn your jazz collection Modern Harmony Jazz Improvisation you’d be moot reluctant to give up. It can be an entire LP. one track of an LP, a kS-rjnn Ear Training Schillinger Theory »election, or a 78. (Send letter» |a Down Beat, Editorial Depart Arranging Analysis of Jazz Styles ment, toot Calumet Ave.. Chicago It.) Composition Private Instrumental Coaching The young turks of jazz, the clique • Ensemble Coaching — combo — jazz workshop which conspired bop at Minton’s, pan big bond — experimental composition workshop icked many of the older friends of the music. Difficult as their music was Over 500 original jazz scores for ensemble to understand technically, it was even more incomprehensible emotionally. The jaberwocky titles, epileptic rhythms, goatees, and berets, all suggested a Tb« teur-y«or collegiate |«*«l diploma cours« may b* ^ORRESRONOENrc sneer at tradition and even sentiment completed la two yean by stedeate wHb superior aptitudes ability cod axperleece. in jazz. So I was very reluctant to hear V MODERN Harmony, a pianist with the alchemical name of • Spacial Mocking ter stedMlt rcguiriag addHlMol V JAZZ improvisation Thelonious Monk. V OANCE BAND ARRANGING Had Monk not recorded for the emi nently respectable Blue Note label FIRST SEMESTER CLASSES BEGIN (after all, Alfred Lion rediscovered format,ou „nt upon JANUARY . MAY - SEPTEMBER Papa Bechet) I probably would not have listened at all. The tune was ’Round About Midnight and it con Accredited Faculty, experienced in the educational tained all the features which distress moldy figs: funny chords, shapeless approach to Jan, so successfully pioneered by Berklee. phrases, and a rhythm which recalled Buster Keaton falling downstairs. But the product of all this dissonance NEW TERM STARTS JAN. 13. Register Now! and swagger was a strange tenderness, the kind of understated poignancy which has always belonged to jazz. It may be dishonest to judge music in emotional rather than musicological terms, but the emotion of Monk’s speech helped me to accept his strange gram mar. I remain a reactionary. I feel that much of modern jazz has become a gassily aggressive music where tech nique passes for insight. But I have learned that a sensitive artist can ex APPLY NOW TO INSURE ACCEPTANCE • APPROVED FOR KOREAN VETERANS press emotion in any idiom.
Down Beai ited at ad- Father O'Connor sort of pop- he plays slightest of (Continued from Page 18) i overtone*, n out to be have no idea of roots. Many just d well-man- haven’t had the time to listen. Mostly, dvantage of Selmer they’ll pick up a little from Dinah I. to present Jodies, with Washington or Louis. They’re building hemes, that on what they have now, not what we’ve h and win- had all along.” of modern Other O’Connor observations, from interviews and his writings: of fiddler* Bia bands: ”As a vehicle for jazs, *n their in- iazz voice*, the big band seems dead. There doesn’t rformen on seem to be anyone writing successfully takable tal- ... most of the sounds are early Ken azz of high ton, Woody’s Third Herd, or Basie igs for the again. One factor might be that the The possi- young musician has grown up with the th a writer small group and is so involved in that, he fine staff he hasn’t time for bands. him or one —the possi- “I hear reports that Mulligan and :hat reason, Davis have recorded with big bands, mong jazz- but I hope it’s not over traditional ons as the backgrounds.” nds seriou» to wait an Jazz on the air: "Radio appears to ybody does AMT Piflf—Selmer (PMIU Trumpet be devoted exclusively to stories, inter Weedy Hermes Star views, pop music of all types from Presley to Belafonte, and commercials. Late night programming used to in clude considerable amounts of jazz, but now the night shows sound like the Play a Selmer—and ' day ones. you’ll play better, too. "Apparently the day audience of Find out why—see your women and teenagers is also the night Selmer dealer audience. It’s strange when you con Util prua- sider the volume of air time, and the favorita ita mea to J. S. seeming interest in jazz that you find its. Mo. among so many people. Possibly none ie vour viawa SSO Word« «r Makes You and Your Instrument of the enthusiastic ones do any writing mat collection to editors or to radio station man up. It can b, agers. LP, a At-rjan WILWERK “Another aspect of this lack is most ANO ¡tortai Depart- noticeable. If there are any good jazz , the clique musicians in a city or town, you have i ton’s, pan to read through every newspaper in THE WORLD'S FINEST DANO friends of detail to find any announcements or kjwfci ‘A-1’ INSTRUMENT LUBRICANTS 1 music was comments. There are a few advertise FINEST • SMOOTHEST t was even ments, pictures, columns, and remarks; • SLICKEST tonally. The • FASTEST but when you want to find a club or in — : rhythms, concert you never really know where uggested a 3 scientific formulisi to turn. i sentiment valve, tilde: ley I . ant to hear “Jazz promotion in most cities seems sprint al name of nil.” Buescher valve and slide — st !ss£ss ss»le stere* everywhere oil Is developed In coop Humor in jazz: “Musicians, and or the emi- MERCO PRODUCTS Inc. eration with a leading oil company. 100% pure Note label particularly jazz ones, cover most of SS Weit 23rd Street • Nc* Yer* 10, N. Y. ediscovered — can’t gum. Pleasant smelling ... endorsed their serious work and effort by a flip would not by leading musicians everywhere. ness and casualness that has the same tune was basis as the clown and his funny face. nd it con BUESCHER BAND Exclusive Pluittm ch distress INSTRUMENT CO. “The tradition of humor within jazz Elkhart, Indiana is a long, deep one. Louis Armstrong BANDS IN ACTION , shapeless Action pictures of all name leaders, mu ch recalled helped to build the tradition and now sicians. vocalists, also Rock 'n' Roll Artists. stairs. Handled by leading music stona he just produces humor without much Guaranteed to piease. 50c each: 4 for $1.00. i dissonance concern for the music. ARSENI STUDIOS tenderness, 756—7th Avenue. N. Y., N. Y. “But under the humor there is much Glossy 8/10 Unobtainable elsewhere poignancy • ORCHESTRATIONS thought, concern, and interest. And you d to jazz, je music in • COMBO ORKS «BAND MUSIC have to crawl in under such titles as usicological Sweetheart of Sigmund Freud or Tale nk’s speech • Musical Supplies of an African Lobster or One Score THE GHOST DRUM PEDAL inge gram- and Eight Horns Ago to find out ex For Free Catalog Writs fo: now being sold direct iry. I feel actly what the musicians are at, since has become most people can’t ask them directly.” Price $24.95 plus shipping .vhere tech- TERMINAL Louie Bellson wood beaters $2.95 Jazz working conditions: “What lut I have MUSICAL SUPPLY, Inc. Write: ist can ex O«pt. 08, 113 W. 48 St.. N. Y. 36, N. Y. contributes the most to the insecurity "GHOST,” Springfield, Ore. of jazz musicians, and thereby indi-
November 28, 1957 Down Beat spo rectly to the music, are the business conditions surrounding their work. any “This is true of all the fields of art. son Get fast, full sound That’s why the recent plea from the world of the theater for government inii support makes much sense to all art ists. In almost every country, the gov- bet am eminent assumes a major role in the upkeep of the arts. pos “This is not done as we do it by the ths elimination of taxes either on the property that a group may own or on a i the tickets that are sold at the door. or bn It is rather a sum allocated directly to the support of artists in terms of sal the wh ary and costs of living. In this way, a SALVADOR definite season and income are prom ON ised to musicians and singers and artists.” ini al Composition vs. improvisation: nx GUITARS “One of the oddities of jazz, and it has in many of them, is the continual conflict between composition and improvisation. ar Praises quick respon For many reasons, a jazz instrument- sive action of his Gretsch alist, talented as he is. cannot write guitar...calls tone compositions that have the life, vital dr quality the finest. Likes ity, and uniqueness of the music he nn plays almost in impromptu fashion. slim neck and streamlined Gretsch body... says his ar Gretsch guitar “feels comfortable—plays fastest. “It’s quite true that there should be th some technique or means by which a ta Sal plays the Gretsch Electromatic Cutaway Miles Davis solo could lu extended and ch model... used it for his new record album treated so that scoring and blocking- out of material for accompanying in- “Shades of Sal Salvador” (Bethlehem — BCP 39). gc struments could be accomplished, But, ed Top jazz stylists play Gretsch guitars—why don’t you? if it is tried, and you listen to the new See your dealer.. .write for Free Gretsch guitar catalog... ch orchestrations and arrangement, you fo shows many models in color... and get Sal’s own are disappointed because the flair and Guitar Chord Book at your music store. the color of the original are gone. th “Duke Ellington has been trying for de years to pull off this trick. Black. ■PDCTCPU «MP I % I fl The FRED. GRETSCH Mfg. Co. Dept DBll’ • Brown, and Beige: Liberian Suite, and ti: WI 11b I WI I 60 Broadway, Brooklyn 11. N. V. Such Sweet Thunder are all concerned with the effort of making jazz parallel to classical music, but yet not the P' cl same. What makes the Ellington ef forts so palatable is the Ellington cl band. As soon as you hear someone else a try the same music, you shiver. TRY W-W HEADS P “The coloring, the rhythm, the tem YOU'LL LIKE 'EM Step Out po, the mood—these are no longer El di lington when in another's hands. Yet h HAVE “LOOSENING in Front all the music is down on paper, and all PROBLEM? G should be able to play it.” g si ARE YOU AFRAID YOUR HEADS with The jazz enthusiast: “When you WILL GET WET? start getting interested in jazz and ac quiring a taste for the music, look out w BUY NEW NATURAL SKIN (NOT PLASTIC) HEADS for the enthusiast because he will wear a you out. I mean the enthusiast who a THEY ARE WATER-WEATHER PROOF! will spout names, record numbers, tl YET COST LESS THAN meaty little historical pieces of CONVENTIONAL gossip... t n LIST PRICE flutes and piccolos ‘‘If you object to some style, purely on the grounds that you are not used 12" to 16" Mtd. Batter, playing ease to it, you will get a disdainful glance Snare or Tom-Tom $ 5.00 each P tonal perfection and then a long pouting period. This a 17" and 18" Mtd. Batter beauty enthusiast may appear to be in the t and Snare Tenor...... $ 7.50 each I rugged dependability neurotic class, but the unfortunate thing about him is that the class is I 20" to 30" Mtd. Bass $15.00 each R and the right price fairly large.” ALL HEADS ARE MOUNTED ON WOOD HOOPS TO FIT Jazz and delinquency: “In the mov- ALL NAME DRUMS. I D & J ARTLEY, INC ies, if you wish to express musically either delinquency or violence or hatred WHITE EAGLE RAWHIDE MFG. CO. 1 1652 N. Throop Street or any anti-social attitude, then you Chicago 22. Illinois resort to jazz. Just why the timbres of Stan Kenton should indicate such irre-
Dom n Ileal ? sponsibility itudy not too many, if the business any, have gone into. ir work. “Jazz used with the story line of fields of art. some movies and TV plays indicates ?a from the a giowing impression in too many government minds that there is a casual relation ! to all art- between delinquency, adult or juvenile, ry, the gov- and jazz music—as movie and TV com- role in the posers think of such music. down beat “A conviction has gotten around do it by the that a jazz theme supports and girds 1er on the a seamy tale of human failure, moral 1 own or on or physical. A muted trumpet, a it the door. and strike a happy note with breathy sax, a high trombone smear— 1 directly to these express that human area in nnis of sal- which a will decides to commit a this way, a wrong, to sin, to misuse a freedom... : are prom- ingers and “Most delinquents have little or no interest in jazz, either in its tradition al forms or the advanced progressive It’s so pleasant, so easy, so economical to wish ROXISATtOX; moods. In fact, they have little interest , and it has in any kind of music.” your friends a musical Merry Christmas with tual conflict Jazz musicians: “Musicians, as most provisation. artists, are the subjects of much talk, instrument- rumor, prejudice, and wonderment. DOWN BEAT. After the first one-year sub- mnot write “Musicians get married, have chil life, vital- dren, buy homes, take part in com- scription at $7 < which can be your own, new or e music he munity affairs when they They fashion. are of all nationalities and faiths, and renewal), additional Gift e should be they donate huge hunks of time and by winch a talent to Protestant churches, Catholic Subscriptions are only $5 ¿tended and charities, and Jewish appeals. d block ing- They ar fat, skinny, each! panying in- good looking, mediocre looking, well- lished. educated, not so well-educated, finan to the cially comfortable, and not so com ement, fortable. Everyone interested in the exciting world of music will le flair ire gone. “They worry about dental bills for their children, sons who drive too fast, welcome a Gift Subscription to DOWN BEAT. And bi i trying for daughters giowing up whom they can’t ick. Black, quite understand, and wives who some weekly issues of DOWN BEAT will serve as a year i Suite, and times nag too much. 1 concerned “They hope that automation won’t azz parallel long reminder of your thoughtfulness. put them out of work because a ma- et not the chine being developed which llington ef- can make sounds that rival a full or ■ Ellington chestra in quality and brilliance, and Your Christmas Gifts of DOWN BEAT will be an- omeone else all you have to do to make it work is BRUBECK ver. push a button. nounced by a handsome card specially designed n, the tem- Musicians, newspaper men and longer El- doctors and lawyers and salesmen, hands. Yet and signed in your name. So act now — fill out the hang together and they develop a lan per, and all guage that includes words and expres handy coupons below. Mail it today and delight youi sions an outsider can’t understand. ‘When you “The real problem is that most of us friends throughout 1958 azz and ;tc can’t appreciate and accept the person ic, look out who just wants to make music. There e will wear are men in the world who enjoy melody ùhrìsfma) (fll ( usiast who and harmony all day long, and they numbers, think about it as they walk the street, pieces of ride the subway, and as they eat, and Send one year of down beat as my gift to they want to put this into the form of tyie, purely music. re not used “Musicians, as artists, are sometimes Name Name nful glance petulant and petty or become snobbish Street Street eriod. This and high-toned. When this happens, they are not being true to their art, Zone State Zone State infortunate and they aren’t being true to their own he class is human nature. Gift can! to read "From. “Music, more than any other natural activity, teaches you to be humble and In the mov- Name Donor’s Name s musically kind because of the immensity of the re or hatred creation you have at your hands, and Street Street , then you you become less a musician and less a Zone State City Zone timbres of man as you forget this. (This is the second of two articles.) • such irre- Gift card to read "From. □ Extend my own subscription □ Enter new subscription in my nan Dow n Beat November 28. 1957 Donegan will bring her heel-tapping, continues at the SRO on a Wednesday | Strictly Ad Lib seated calisthentics, and piano explora through Sunday basis. He recently tions to the London House on Nov. 27. signed a Mercury Records pact . . . Ed-1 (Continued from Page 10) She’ll remain in charge through New die Petan'N trio, at the Unique lounge, Year’s eve, making w’ay for the Jonah includes Petan, piano; Warren Pasek, Wc Belafonte’s new picture, a three-char Jones group, w*hich will perform dur. ng bass, and Roger Wandersche.d, drums acter drama set in A-bomb-desolated January... Singer Mauri Leighton and . . . Ed Higgins’ trio, currently at the New York in 19G2 . . . Leonard Bern comic Gene Baylos are winding up a London House on Monday and Tues stein will conduct the New York Phil stay at Mister Kelly’s. Sylvia Sims ar day, may cut tin LP for Mercury. harmonic orchestra in Teo Macero’s rives, and Baylos remains, on Nov. 18 ADDED NOTES: Sophie Tucker b Fusion over CBS radio next year . . . for three weeks. Dick Marx and Johnny assisting admirably in the celebration Italian jazzman Renato Carosone and Frigo continue at Kelly’s on Monday of the Chez Paree's 25th anniversary his sextet open a two-week U.S.A. and Tuesday evenings . . . Georg Bru Jerry Lewis is scheduled for a return visit with Carnegie hall concerts Jan. nis and his Dixieland followers continue engagement at the Chez, beginning 4 and 5 . . . Hubert Robertson Jr. and to dominate things at the Preview Dec. 3 . . . Toni Arden and Johnny Eugene Jones kicked off a series of lounge. . Louis Jordan leads his group Puleo’s Harmonica Rascals are at the DAVI Sunday afternoon jazz concerts at the into Robert’s on Nov. 20 for a stay that Empire room of the Palmer House . . . _r Palm Gardens ballroom Oct. 27 with will last until Dec. 1 . . . Eddie Baker Robert Clary is heading the bill at thr COM John Coltrane, Don Byrd, Art Taylor, is at the Easy Street piano on Monday Black Orchid. He’ll be there until Dec. mi Tommy Potter, and Red Garland . . . and Tuesday; Bill Huff takes over on 3, when Johnny Mathis and Irwin Corey ite Peggy Lee signed to appear in a pic the Wednesday through Sunday sched open a nine-day booking. Singer Jerri “V Ce ture about the jazz world, to be shot ule, with Billy Wallace’^ quartet ap Adams and Corey will open Dec. 12 Ar in New York and Europe next summer pearing on Sunday afternoons. for 15 days, with Lili St. Cyr and . . . Rex Stewart is conducting a course Max Miller’s trio, with Curt Fergu Herb Jeffries following for two weeks "PR, in jazz at Bennington college . . . son, bass, and Don Clark, diums, is at . . . Mary O’Hara is at the Gate of Be Jack Lewis, former jazz a&r man at the French Poodle on N. Clark St. . . . Horn . . . Larry Rapplinger recently celebrated his fourth anniversary ai. SPEC RCA Victor and Vik Records, is now The Ramsey Lewis trio is on a Friday pi doing jazz a&r for United Artists through Tuesday basis at the Cloister pianist at the Gaslight club on Rush St an Records . . . Miles Davi» will be in Inn Pat Moran’s quartet, with Bev to France from Nev. 30 to Dec. 20, play Kelly on vocals, works the Cloister Hollywood Li ing concerts, and a full week at the from Wednesday through Sunday . . JAZZNOTES: Art Pepper opens at 01X1 St. Germaine in Paris. Gene Esposito*.*, trio, plus singer Lee Sonny’s lounge in Denver Nov. 15 for 60 Loving, are now at Chinaco’s on S. 10 days. Bassist Ben Tucker was the Chicago Loomis for Sunday afternoon sessions only sideman set at presstime. Curtis JAZZ, CHICAGO-STYLE: Oscar Pet . . . Organist Les Strand cut an Elling Counce returns with his quintet into erson’s exciting trio, with bassist Ray ton LP for Fantasy, with Max Mariash same mountain aerie for the holidays «Y C Brown and guitarist Herb Ellis, is on drums. Strand cut 33 tunes in all, beginning Christmas Eve. Pete Jolly w sharing the Blue Note stand these eve so several LPs are set for future re ig now working Sonny’s with Richie nings with the warm sounds of Leu lease . . . Johnnie Pate’s trio, currently Kamuca, Bob Neel, and Bob Berteaux. USE Jazz Modes, with the French horn of at the SRO room on weekends, cut an Harry Babasin’s Jazzpickers may fol Julius Watkins and the tenor of Char LP for King, augmenting the group low Counce into the nitery. Thus, Hol U lie Rouse. The two groups will be in with vibes, flute, and drums . . . Frank lywood’s misfortune is Denver’s good residence until Nov. 27 . . Dorothy D’Rone, singing and playing guitar, luck. WE BE A MOBEKXIST OX YOLK IXSTIUJMEXT t. NEW DIRECTIONS IN JAZZ PIANO SUPER SOUNDS SIMPLIFIED—Iha »y»temi of «11 th« difficult pauagei In modem muiic Page after page of interetting harmonic inno Schillinger, Schoenberg and Hindemith finally with ««ie $1.25 c vations, ne» styles and technique» to give made practical ai applied fo Jan, AD LIB, COOL SOUNDS OF MILES DAVI$— Send for Our New Listing for Smell Combos fl R Ml ■•CMMTi/lKll.T. 52 Down Beai j Wednesday The Village, downtown Lutin spot on He recently Eighth St., has started a Monday night pact... Ed- CLASSIFIED ADS jazz policy. Richie Kamuca’s was first MUSICIANS nique lounge, group in, followed by Shelly Manne ... Feo CAN KOunO arren Pasek, No PER WORD — MHflMUM CHARGE $4.50 Tommy Thompson., bandboy with the LIKE THE TOP JAZ2 PERFORMERS! che.d, drums ItAOHKE; 20 «ays prior is Les Brown band, died at the wheel of M arrange moorin mu cnee> uti an .iiiyoi- rently at the "m Mie" Asie el hue. a truck outside Salt Lake last month tant standards, especially for your instnuneni Our staff writes for America s leading Jan y and Tucs- leaittsace mH atCMpacy cog . . . In line with his new policy of Soloists ercury. €••« Rane. AMrett. City sad Stale “poetry” readings at the Lighthouse, Minimum prices ie Tucker i» loi Muabei Senke. Me Extra Howard Rumsey has been stocking up WRITE FOR FatL INFORMATION TnOAV> i- celebration on celery for narrator Frank Rosolino anniversary to munch on as he reads the verses. FOR PIANO for a return (Poetry... celery? We give up.) 354—MODERN CHORD APPLICATION. How <0 ARRANGEMENTS iiie fourth chords, 9th. 11 tn and 13th s, beginning ADDED NOTE’S: Why did Liberty chorda la modem iazz piano ttyfmg 75 and Johnny dub the name Tommy Hendricks on 364—LEFT HAND IDEAS FOR MODERN s are at the DAVE PELLSTYLED ARRANGEMENTS for trum PIANIST and how to apply them.... .75 pet. tromboni-, tenor, alto-baritone, rhythm. guitarist Al Hendrickson in his new 353—SINGLE NOTE IMPROVISATIONS Ad ir House . .. B Eberhart. Box 823. Enat Lumai ng. Michigan vocal album? Al’s been known as a lib ,azz phrases to fit th* most used ie bill at the singer for years . . . Joe Napoli, now chord progressions...... re until Dec. COMBOS: New novelties, funny aongr. Special 9B0- -MODERN 'AZ7 ACCOMPANIMENTS material & double entendre items: also feature enroute to Europe via New York to Hew to play off beat bop piano bach- Irwin Corey items f< r your girl singer* with combos. You'll set up World-Pacific Records distribu grounos ...... ■ 50 Singer Jerri “WOW” your .ludientea with th<-a:. Write: tion throughout the continent, will 912—CHORDS BUILT BY FOURTH iNIER pen Dec. 12 Combo Music Supply 1047% W. 62nd St., Loa VALS A chart of ultramodern 3 4 5 Angeles 37, Ca). work with Gary Crosby on the latter’s and 6 note chords and how to substitute ?t. Cyr and new W-P album. Joe will also attempt them for conventional chords.... J$100 r two weeks "PRACTICAL JAZZ CHORUSES, especially hand to bring Jazz West Coast Vol. 3 to the 9'i0—NEW CHORD! FOR STAN ’ARII HITS the Gate of written, your selections, 8—$1.00 Creighton. Exciting, different harmonizations of ail Box 6173. Sarasota, Fla Iron Curtain countries and is consider the best known all-time hits...... !$100 ger recently ing changing the name of the tour to 376—MODERN CHORD PROGRESSIONS FOR liversary aL SPECIALS!' Voiced for Trumpet. Alto, Tenor “Joe Napoli and his Swingin’ Sput - PIANO. How to transform sheet musie on Rush St plus rhythm Also Trumpet, Tenor, Trombone, chords Into modern extended chord posi and Trumpet. Alto, Tenor, Tromboni, Bari nicks”. . . Lineup of drummer Chuck tions ...... ! $1 00 tone arrangements. Arranging Service. 24 Marlowe’s Septet (Down Beat, Nov. 345—MAMBO RHYTHM patterns FOR Lincoln Ave., Pitsford. N Y. PIANO. 50 14) is, Jack Trott, trumpet; Rudy 370—SINGLE NUTE FIGURATIONS FOR er opens at DIXIELAND ARRANGEMENTS. Zep Meisenen Fischer, alto; Joe Spang, tenor; Teddy STANDARD HITS Typical modem piano Nov. 15 for 6015 Biloxi, North Hollywood. California. Lee, baritone, Steve Berliner, piano, til l Down Heat November 28, 1957 53 Derwin. now with Premiere Artists, bone; Bob Pillsbury, piano; Frank booked the Jolly Rogers into their Gallagher, bass, and Tommy Benford, 1 Where To Go current stint at Vegas Tropicana . . . drums. Newest in Howard Rumsey's “Light —george forsythe house Series” on Liberty is Drummin’ Chicago the Blues, an LP showcasing Max Washington, D. C. Roach and Stan Levey with the Light THE EDDY PETAN TRIO house All-Stars . . . Trombonist Bill Latest entry into the record label Wednesday thru Sunday Harris cut an album for Mode with sweepstakes is Washington Records, a CLUB UNIQUE LOUNGE Terry Gibbs, Lou Levy, Red Mitchell, '522 w«$t 51st st Bishop 7-4035 local label that will specialize in un and Stan Levey . . . The Gerry Wiggins derplayed classical repertoire. Charlie trio, with Wig on organ backed by Byrd, who plays both classical and jazz Los Angeles Area Irving Ashby and Bill Douglass, is at guitar, will cut a series of classical Dynamite Jackson’s (Back Stage). discs for the label. Byrd und local pi HOWARD RUMSEY'S anist Eddie Dimond backed song satir Lighthouse All-Stars THE LIGHTHOUSE San Francisco ist Paul Winters on an LP by Wash Hermosa Beach Sessions at noontime are now being ington’s subsidiary (every label has a Top Modern Jazz Names in Conceit held on Saturday and Sunday at The subsidiary), O.fbeat... Byrd and his trio (Keeter Betts, bass, and Eddie A Fresh Sound In Dixielend by Place, with Boh Cedar on tenor and T. RILEY Red King on piano . . . The Kenneth Phyfe, drums) doing good business at and Patchen-Chamhet Jazz sextet jazz and the Showboat... Joe Rinaldi has his THE SAINTS quintet in the Jazz Center room of the Hermosa Inn Hermosa Beach poetry bill switched from the Black Hawk to Fack’s II for a week in Oc Flame restaurant. lr> the group art PAUL ELEY QUARTET (Featuring Dave Pike) tober prior to returning to the Hawk Eddie Dimond. Hal Posey, trumpet; HILLCREST CLUE Herbie Powell, bass, and Jim Lucht, 4557 W. Washington WEbster 5-3552 . . . French pianist Chris Ibanez being held over at the Jazz Workshop, with drums. Rinaldi plays clarinet, flute, alto nightly (except Tuesday) until Jan 1, 1958 sax, and bass sax. It’s a versatile combo Sunday 7 a.m. - II a.m Max Levitt on drums and Chuck Peter son on bass ... A new rehearsal band, that plays everything from I’m Coming NAPPY LAMARE—RAY BAUDUC Virginia through Air Mail Special to and their 17 pieces, led by William Penn and called The Rhythmasters, debuted at Jordu ... Slam Stewart, playing with Riverboat Dandies Dixieland Sextai the Beryl Booker trio, put in a week at BEVERLY CAVERNS Sweet’s ballroom Nov. 7 . . . Rudy seven nights e week Salvini has resumed his periodic dance the 2011 club. FIREHOUSE FIVE PLUS 2—«very Frl. nite —paid sampeon 4287 Beverly Blvd. NOrmandy 2-4035 concerts at the Sands ballroom with his big band . . . Lee Sharpton’s New St. Louis JOE DARENSBOURG'S ALL STAR BAND Orleans Jazz band now at the Monkey New O'leans Dixieland Inn Tuesday and Thursday and Burp at the Within a one-week period from Nov. LARK Hollow Friday and Saturday. Person 12 to 18 Kiel opera house will have Monday thru Saturday—Dancing every night nel is: Sharpton, trombone; Art Dennis, played host to jazz in its three major 3424 W. 3rd St. at Catalira DUnkirk 2-1021 trumpet; Ellis Horne, clarinet; Ed Tay forms. The Jazz for Moderns package lor, piano; Don Marshant, bass . . . was in Nov. 12 with a who’s who line I San Francisco Area Bob Mielke’s Bearcats have returned to up of Shearing, Mulligan, Chico Ham the Pioneer Village in Lafayette . . . ilton, Miles Davis, the AJQ, and Helen Virgil Gonsalves’ sextet held over at Merrill. Traditional jazz fans will have BLACKHAWK the Jazz Showcase . . . Warne Marsh their big night Nov. 17 when two local up from L.A. in a quickie booking to 200 St San Francisco Calif all-star Dixie bands led by Singleton join Art Pepper at the Black Haw k. Palmer and Bill Mason will share the —raJph j. gleason stage with the St. Louis Symphony. Then the following night, middle-road Philadelphia jazz takes the spotlight as the Teddy SPREADS FARTHER Triple-header at Red Hill Inn fea Wilson jazz concert comes to town ... LASTS LONGER tured star-studded lineup week of Oct. After the Oscar Peterson trio finished 21. Don Elliott quartet, Bob Brook Oct. 26, gassing everybody as usual, HOLTON meyer quintet, and Beverly Kenney Peacock Alley wa>3 closed until Nov. 13 OIL were at Red Hill. Same week AI Cohn- when Stan Getz opens. The Alley’s Zoot Sims quintet was at Pep’s and Christmas show is set, with Lurlean Superior spreading Chico Hamilton quintet at Show boat... Hunter and the Max Roach group power, slower evapo Bandstand, which featured Bud Pow • slated for Dec. 20 to 31... At Molina’s, ration. uniform consist ell and Don Shirley in its opening bill Flo Dreyer’s all-girl jazz troupe was a ency—Holton Oil tests earlier this year, closed after shifting last minute replacement for Phineas best for easier speed to straight night club act fare. The Newborn, who canceled because of ill ier instrument action. Blue Note, closed in May by fire, still ness. Future bookings there include hasn’t reope ned . . . Trumpeter Joe the Mary Lou Williams trio . . . Rob Wth dropper applicator 35c Techner leading combo at Marlton Schroeder is the new clarinet with the With swab applicator 30c Manor, near Camden. Dixie Stumpers ... Trombonist Frank —dace bittan Orchard has started Saturday after noon sessions at the Celebrity cluh for MUSIC DEALERS EVERYWHERE Boston traditional jazz fans under 21 (soft drinks only). Radio jazz in this area picked up —ken meier considerably when George Wein, a man of many parts, joined the disc jockey Detroit staff at station WVDA. Wein plays rec SHEET MUSIC ords from his 4,00(1 record library and Buddy Greco followed Jonah Jones The world's most complete selection interviews jazz personalities working into Baker’s Keyboard lounge . . . of printed music is now yours at low, in the area . . . The second annual Mu Sonny Stitt and pianist Terry Pollard low prices. sic for Moderns concert was presented are current at the Frolic Show bar . . . POPS - JAZZ ■ STANDARDS - CLASSICS ■ at Symphony hall recently, featuring Bud Powell did a week at the Rouge FOLIOS - ARRANGEMENTS - INSTRUCTION the Australian Jazz quintet. Miles Da lounge. Dinah Washington and Lester COURSES vis, George Shearing, Gerry Mulligan. Young are next in line . . . The Tom ALL AT BARGAIN PRICES Chico Hamilton, and Helen Merrill... Jameson trio is now’ appearing week Send us your List. We will rush prices Dixieland returned to Boston with the ends at Welby’s bar. Personnel of the reopening of Mahogany Hall, which had group is Jameson, tenor; Guy Korte, “IF IT'S IN PRINT WE HAVE IT’ been closed for a year. Featured in the piano, and Dennis DePalma, bass . FAST DELIVERY — WE PAY POSTAGE room are Leroy Perkins and the Ex The Ted Heath orchestra, Carmen Mc MUSIC UNLIMITED calibur jazz band, with Perkins, clari Rae, and the Hi-Lo’s were featured 1550 Broadway. New York, N. Y. net and tenor; Dick Wetmore, cornet, in a concert at the Masonic Temple. violin, and baritone; Cass Brosky, trom —donald r. stone 54 Down Bra* ino; Frank ny Benford, rge fors y the ecord label Records, a lize in un- re. Charlie :al and jazz >f classical id local pi- song satir- by Wash- abel has a d and his and Eddie jusiness at di has his oom of the group are , trumpet; lim Lucht, , flute, alto atile combo 'm Coming Special to .ying with a week at sampson from Nov. will have iree major is package who line- hico Ham and Helen i will have i two local Singleton share the Symphony, iddle-road the Teddy “There’s those 88 keys!” The guy who o town ... io finished made it must have had something in mind.” This as usual, il Nov. 15 is Garner explaining his constant search for a ie Alley’s i Lurlean bigger, fuller sound. Copping the *1 spot in ch group Molina’s, Down Beat's 20th Annual Readers Poll as well as ipe was a ■ Phineas Down Beat's Fifth Annual International Jazz ise of ill- Critic’s Poll would seem to indicate that lots of e include ... Bob people like the sound he’s already got! Hear it with the st Frank now on Erroll’s new releases: “Other Voices” ay after- t club for (CL 1014), “The Most Happy Piano” (CL 939) 21 (soft and “Concert by the Sea” (CL 883). ken meter EXCLUSIVELY ON COLUMBIA • RECORDS ah Jones A DIVISION OF CBS ge . . . ■"Columbia" * • Marcas Reg "CBS" T M y Pollard v bar . . . ie Rouge id Lester The Tom ng week- el of the ly Korte, bass . . . ■men Mc- foa tured Temple. Id r. stom own Bea* Selmer We don’t say that playing a Selmer will make you an overnight sensation. But it will do more for your talent, technique, and reputation than any other horn. No question about it. That’s why so many top-drawer sax stars—actually more than 80% of them—play Selmer. Never has there been a sax with such superb intonation, such vibrant tone, and carrying power; nor one so easy to handle and so comfortable to play. Try the new Mark VI as soon as you can—see if you don’t agree You'll play better with a Selmer! 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