live sound. All the interpretations are ta Stay; St. Tropes; Waldorf Bluet; Suudn- You’re Getliue ta Be a Habit with Me. ' loose and relaxed. Personnel: Young, clarinet, tenor mx< ihont The outstanding soloist is Wilber on Harry Ediaon, trumpet; Oscai Peterson <r |(| Stein, piano; Ray Brown, hast Herb Ellis. uuits> both clarinet and tenor. On the surface, Louis Bellson or Mickey Sheen drums. he sounds more like Hank D'Amico on Rating: it ir it it it The star system of rating nevei emed clarinet than Bechet, and like a cross be­ more useless to me than right now. Faced tween Zoot Sims and Bud Freeman on with this LP, it is agonizing to ra' it tenor: but this is just superficial. Play On the theory that Young is gone and When the Sun Sets and Georgia Cabin at anything he did is invaluable, it\ five 45 if you want to see how much of Bechet stars. But I have the same trouble here remains .in Wilber. At this speed their as with Billie Holiday: I can’t tones and phrasings are almost identical, stomach DR/fJ the disintegration I hear. And also, 1 although Wilber no longer employs as cannot judge at all what effect lh.> may pronounced a vibrato as Bechet did. have upon those ears unfortunate enough All the men on the date have solo turns; not to have heard him when. Dickenson and Wellstood have particu­ So here il is: Lester Young in July, larly good choruses. By the by, it’s al­ 1957, and December, 1958—a ghostly together fitting and proper that Dickenson echo He plays clarinet and tenor, and on was included on the date, since he was there is a present on so many of Bechet’s best discs. Love Is Here to Stay racking sound of breath before the reed Thus, a fine album in memory of one takes that is enough to raise the hairs of our greatest jazzmen, and an album in your neck. It is positively eerie, like Great Gershwin, like: Girl that Got Away, I’m sure he would heartily and enthusi- the death Sure Thing, My Ship. 70009 rattle. 1 had to take it off. astically endorse. (D.DeM ) All I could think of was Lou Gottlieb's touching title for his article on Young in Ix-m Winchester-Benny Golson JAZZ—"Why So Sad, Pres?” Why indeed, H WINCHESTER SPECIAL —New J»zz 8223: Down Fuzz; If / Were a Bell; Will Yon Still And yet you know why, but it doesn’t Be Mine?; Mysticism; How Are Things in Glocca make it any better. MorraT; The Dude. Personnel: Lem Winchester, vibes; Benny Gol* son, tenor; Tommy Flanagan, piano; Wendell Marshall, bass: Arthur Taylor, drums. Rating: ★ ★ ★ ★ Like the rifle, Lem Winchester goes off OLD WINE with a bang. That's enough of an analogy to give you an idea of the Wilmington NEW BOTTLES policeman's impact. An appealing blend of Hampton and Jackson, he plays chorus Jelly-Roll Morton after chorus of inventive, earthy, techni­ W MR. JELLY LORD—Riverside RI P 12-133: King Portel Stomps; Year Orleans Blues; [kt cally brilliant ideas abounding in humor Pearls; Fickle lay Creep; Hyena Stomp Pep; and with a deep respect for the blues. Al­ Jungle Blues; The Crave; bausas City Stomps; Sonny Clark originals, played by Sonny, Mame Nita; Creepy Feeling; Spanish Swat. though he plays many-noted phrases, his Personnel: Morton, piano. George Duvivier, Max Roach 70010 conception is always logical and never de­ Rating: it it it it Riverside is deserving of a hearty "well ^^RRBtnTÑE scends to a virtuoso level. And oh! how this cop swings! done!” for making these solos irom the Winchester is one of the few vibraharp- Library of Congress sessions available on ists who realizes that more than one note one LP. To those who are more interested can be played at a time: by throwing in in the Morton piano and less in the minor triads, fourths and fifths, he adds Morton saga, this album will be a lime­ a pianistic flavor to his playing that is saver. As amusing and interesting as appealing in a funky sort of way. Brilliant Jelly’s braggadocio was in the complete Library of Congress set, it. nevertheless, is the word for his solo on Mine; sensitive coukl distract from his playing Here we describes his moody work on Mysticism. have the essence of Morton stripped of His wit comes forth in the amusing line of his original Dude. the legend and fluff behind which he some­ times found it necessary to hide. Much Coleader Golson builds some very com­ of what remains is filled with a stark plex solos — maybe too complex. Benny usually starts his solo simply, playing di­ beauty, a grace, a body-swaying swing. Although not as well recorded as the rectly and with a minimum of notes; as Horace Parian, Julian Priester.Bob Boswell he goes, he plays more involved, difficult General sides, considered by some to be Stanley Turrentine. Max Roach 70008 phrases until he reaches a roaring climax his best, made about the same time, the and sounds about to blast off in all direc-, Library of Congress solos compare favor­ ably with these and some ol his earlier tions at once He seems Io have a line going which he supports with hundreds of work. The fire that he generates on King was surpassed only by his Dodds secondary notes — not unlike a twisting Porter trio version of roller coaster buttressed by orante brothers Wolverine Bluet, superstructure. made about a decade earlier. Flanagan has some brief but satisfying Many of the tracks show the Spanish solo flights. Marshall steps out of his sec­ tinge that was in much of Morton’s compo­ tion role for one all-too-brief chorus on sitions. The Crave; Mania Nita (Mama­ Dude. The time is well taken care of by mita), and Creepy Feeling are all similarly the two strong hands and left foot of constructed: a rhumba like bass, three parts (almost a common denominator in Taylor. What a groovy world this would be if Morton’s compositions), and many breaks all cops were as swinging as Lem Win- (another common element in his work). If anyone doubts that Morton set the ehester. (D.DeM.) Ray Draper Booker Little. Arthur Davis, arrangements of the old Red Hot Peppers George Coleman. Max Roach 70003 recordings, he need only listen to this I.ester Young H GOING FOK MYSELF—FHc; Love lx Here version of Jungle Blues and compare it Time RECORDSjn[B?\\ 45s NYC.