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Classics Jazz • RECORDS • JAZZ RECORD BUYERS GUIDE • BLINDFOLD TEST • CAUGHT IN THE ACT ilecords ere reviewed by Don Henohon, Don DeMicheal, Gilbert M Erskine, Leonard G. Feather, Ralph J. Gleason, Ira Gitler, r irba.a Gardner, John A. Tynan, Pete Welding, and John S Wilson. Reviews are initialed by the writers. Ratings are excellent, ♦ ★ ★ ★ very good, ★★★ good, A ♦ fair, ♦ poor. (Ml means monaural, means stereo gether to thrash out their eternal differ­ solo. Timmons gets in a logical statement. CLASSICS ences, it is rare that anyone in either Brown’s Town contains Alexander’s JAN’S HEAD HiuttitHiiiiiiiiiiiiiiiitiiiiiiiiiiiuiimihmiiiimitiiimimimitimtiiHiiitiimiimiuiiitl group really understands what the other best-conceived up tempo solo, although I^aurindo Almeida side is talking about. Even among pro­ several other tenor saxophonists’ influ­ K CONVERSATIONS WITH THE GUITAR— fessional musicians who interest them­ ences are in evidence. Again, Alexander ly first blue-note Capitol SP-8532: El Vito (folk song); Distribucao selves in what is happening on both sides is less halting and more direct than Hunt, xophone! de Flores (Villa-Lobos); Choro e Batuque I Al­ meida); Danse (Debussy-Almeida); Modinha of the fence, few seem to grasp the essen­ whose solo reveals one mentor after the EAGAN SHAK- (Villa-Lobos I; Brazilian folk medley; First Arabesque (Debussy-Almeida); Two Mexican tia) features of both traditions. other. Folk Songs; La Frescobalda for Viola and Guitar Many jazz musicians, for example, are Alexander plays the ballad I'll Close (Frescobaldi-Almeida); A Dormir Ahora Mesmo (Spanish cradle song). exceptionally hazy about what has hap­ My Eyes in a thin and and searing tone. » WHITEMAN Personnel: Almeida, guitar; Salli Terri, mezzo­ pened to classical music m the 20th His solo is beautiful and well executed. soprano; Martin Ruderman, flute: Mitchell Lurie, Occasionally, his tone becomes hushed clarinet; Sanford Schonbach, viola. century and base their notions on, at the y three R’s were Rating: ★ ★ ★ latest, Debussy and Richard Strauss. and breathy, but he never reaches for the ly. Ron, jazz has Almeida struck gold with two previous This album, last in a valuable scries put bottom of his horn. The ending, with the nber. Why. I can albums in this vein (Duets with the Span­ out in co-operation with the New Oxford interplay between horns, shows how much ish Guitar and For My True Love}, and History of Music, picks up the 20th each man still needs someone to draw this one is certain to keep the lode open. century story exactly at that point Using inspiration from Be that as it may. this the double weapon of sound and words was the most satisfactory tune of the mo. He didn't go Treading expertly the line between pop­ ular and serious music, these selections (and musical notation, too) the album album. ■ longhairs about are mostly charming and never tasteless, carries the listener through Impressionism, I wouldn’t write home about this one, even when Almeida is rearranging Debussy Late Romanticism, the Anti-Romantic Re­ but it’s pleasant. (B.G.) IEAGAN NOD- piano music for guitar and viola. Al­ action, 12-Tone Music, and Modern iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiin meida’s jazz experience makes him an Eclecticism, stopping just short of elec­ Gene Amnions M BOSS TENOR—Prestige 7180: Hittin* the tronic music and other current experi­ we start our trip unusually good ensemble musician some­ Jug; Close Your Eyes; My Romance; Canadian thing that can be said of few classical ments. Sunset; Blue Ammons; Confirmation; Savoy. Followers of the Modern Jazz Quartet’s Personnel: Ammons, tenor saxophone; Tommy in! guitarists. (D.H.) Flanagan, piano; Doug Watkins, bass; Arthur iniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitut recent work (The Golden Striker, etc.) esent. What’s our Taylor, drums; Ray Barretto, conga. Richter/Moussorgsky certainly will be struck by the parallel Rating: ★ ★ ★ * PICTURES AT \N EXHIBITION- Columbia music of Erik Satie, as represented here Ammons is warmer and more relaxed diking the streets ML-5600: Live recording from recitnl in Sofia, Bulgaria, Feb. 25. 1958. in his Trois Petites Pieces Montees and in these pieces than he has appeared on Personnel: Sviatoslav Richter, piano. by parts of Stravinsky’s L'Histoire du the majority of his recordings. His tone, ’OP-UP TOAST- Hating: k t ii ft it Soldat, both dating from before 1920. full-bodied and heavy, has a sinuousness SECONDS.) Here is the performance that won this The reason for such parallels may be that keeps a slow blues (Hittin' the Jug} , Paul Whiteman. year’s Grand Prix du Disque for the argued, but no “third-stream” fan should or a slow ballad (My Romance} moving JAZZ! great Soviet pianist Richter. Recorded in be unaware of them. (D.H.) with graceful pulsation. At faster tempos, concert, it is by no means perfect as a his phrasing is concise and crisp, but the IE AG AN AND ItllllllltlllillllllllllllllllllllllllHIIIIIItlllllltlllllltllllllll....... technical achievement, either by the engi­ bigness and the warmth arc still there. IT OF NIGHT- neers or the pianist. Extraneous noises Unfortunately, the rhythm section is IR HANDS IN JAZZ and wrong notes are heard at times. But relatively bland, and the addition of Bar­ ND WE HEAR IlllllllltlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllUllllllllt what a performance this is. nonetheless. retto’s conga adds an element of monot­ Only Horowitz has played Pictures with IB BLUE JUBILEE—J«x/UndP JLP 23: Blur ony that underscores this blandness. Most Basie. anything approaching this effect — but Jubilee; Brow» • Town; I’ll Close My Eyes; of the time, however, Ammons spreads Richter uses the Moussorgsky piano score Terri's Blurs, Weird BeorJ. across the scene with such dynamism and Personnel: Alexander tenor saxophone; John Basie He didn’t as written, while Horowitz “reorches­ Hunt fluedellmru; Bobby Timmons, pisno; Sam assurance that his pale accompaniment is >c longhairs about trated" it to suit his own towering talent. Jone,, ha„; Albert Heath, drums. scarcely noticed. (J.S.W.) Richter plays certain parts (the re­ Rating: * ♦ Vl tiimmiiiimtmtiitmimiiiimmiiiimiiiiiiiimmmmmmimiiiimmimiiiiiiiiiimiiD *4 SIGN WHICH curring Pomenade, for example) with an To understand why this album failed Harry Arnold unusual speed and force, and then moons to reach beyond this rating would be to R I LOVE HARRY ARNOLD AND ALL HIS ring: Count Basie JAZZ—Atco 33-120: Sermonette; Wrappin* It over others. But the total effect is elec­ understand why artists and material are Vp; Valley Stream Special; Dedicated to George; CUT TO OPEN- trifying. both as a demonstration of tech­ thrown together without adequate prep­ Indian Summer; Frantic Blues; On the Street N TO INCLUDE Where You Live; With a Little Bit of Luck; nical facility and control and as an aration, and I do not profess to know Wouldn't It Be Loverly?; I Could Have Danced ! DANCING TO interpretation. (D.H.) this trade secret. All Night; Flight SK 641; Annie Laurie. OFF-CAMERA. Personnel: Arnold, leader; Arne Domnerus, *'''iiiiii<iiiiiiiiiiii<tiiiiHtiiHHiiiiiiiiiiiii,iiiiiiiii,tti«iitii<iiii>i,iiiiiii liil,iliiii„,iiatiia The ingredients are there — a rhythm Rolf Backman, Bjarne Nerem or George Bjork­ lund, Carl-Henrik Norin or Rolf Blomquist, HOID UNTIL Various Artists * HISTORY OF MUSIC IN SOUND VOL. 10. section of tried and proved jazzmen, Johnny Ekh, saxophones: Sixten Eriksson. Bengt- I COUNT BASIE MODERN MUSIC 11890-19501 — RCA Victor coupled with horn men of more than Arne Wallin, Weine Renliden, Arnold Johansson, Benny Bailey, trumpets; Ake Persson, Andreas LM-6092: examples of music by Debussy, Falla, average talent and ability The album still Scriabin, Richard Strauss, Reger, Schoenberg, Skjold, George Vernon, Gordon Ohlsson, trom­ for you . Lady Satie, Arthur Bliss, Milhaud, Stravinsky, doesn’t happen. Even the composite bones; Bengt Hallberg, piano; Rolf Berg, guitar; Simon Brehm or George Reidel. bass; Egil Johan­ Bartok, Janacek, Hindemith, Dallapiccola, Roussel, rhythm section is not up to its com­ ^hostakovich, Copland, Edmund Rubbra, and Alan sen or Arne Milefors, drums; Anders Burman, POP-UP TOAST- Kawsthorne (two-record album with 64-page hand­ ponents’ best. Jones, although poorly re­ maracas. book). corded, emerges as the most consistent Rating: ★ ★ ★ SECONDS.) Personnel: Various artists and groups, including to Italy couldn’t Jehudi Menuhin, Andor Foldes, Juilliard Quartet, performer. This is a pleasant big-band session by • aaquier Trio. The title tune is shallow and hollow. that gang of happy, swinging Swedes led Forget the other Rating: ★ ★ ★ ★ r’oung KB! Alexander has a calm, unimposing solo. by Harry Arnold. When jazz and classical buffs get to­ Hunt follows with an uneven spasmodic The writing is wholly derivative of December 22. I960 • 35.
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