PRESTIGE Eral Loosening of the Band

would be forcing our scene on this band, If Keating could create charts with more inherent melodic value, this band modem jazz begins on and they have their own More and more, It i would enhance then value. Basically, it 1 can hear that there is less and less lit ex-t eral dependence on the charts, and a gen is a disciplined, but not drastically re quit PRESTIGE eral loosening of the band. strained, band. In many- ways, it is equal His Some of the tracks are straight ballads to several of America’s name bands, if comparisons must be made In any case, RED GARLAND ON PRESTIGE in dance tempo, with the solos pretty close to the melody. Clarinetist Henry it is worth hearing It’s unfortunate that "... a particularly restful pianist to listen McKenzie’s quartet side, Idaho, is some such a band can only exist in a studio, qua to: you can play his albums by the hour all what stiffly played in the Goodman tra but fortunate that it did manage to get day long and they never bore you." Ralph witi dition Hawksworth’s Can’t Get Started into a studio for this date (D.G.) Gimc San Francisco Chronicle. is musical, but a shade above routine. 1113 Barney Kessel Rad Garland Trio Pianist Horrox has some flashing mo Cookin' Wit* The Mlles Devis Qolntsl 1094 ments during his punching Love for Sale Contemporary C 3535: Jordu; Satin Doll; It Could Happen to You; Mean to Mo; Don't Worry Red Garland’s Hane 7086 The brassmen, particularly trombonist *Bout Mo; Groan Dolphin Street; You Co to My 351 Ihti Rad Garland Trio Keith Christie (Swinging the Blues) and Hoad; Minor Mood; Nagasaki, A Garland of Red 1064 Personnel: Barney Kessel, guitar; Ray Brown, Red Garland Trio Bobby Pratt (Hey! Baby), are impressive. bass; Shelly Manne, drama Toner Madness 1041 The set is quite a satisfactory listening K» • 1“a » ArAAAW Rad Garland with Rollins, Coltrane experience, and deserves being heard The Poll Winners represents a three Mlles 1014 (D.G.) way conversation between Kessel, Brown, Red Garland with the Milos Davis Quintet and Manne- -winners of the 1956 Down The Musings of Miles 1001 Red Ga'land with the Milos Davis Quartet Johnny Keating Beat, Metronome, and Playboy jazz polls. SWINGING SCOTS—Uol ül.P 3OM: HampZaa There is very little that must be said Ronr«; Down South Bluos; Thietle Swing; Hoodin' about the value of this LP. It is virtuosity JANUARY RELEASES North; Tam O'Shanter: Double Scotch; Kiltie; Loch Nose Monster; Clachnacudan Local. without the sacrifice of an air of relaxed Mai ALTO MADNESS Personnel: Tracks 1, 2, and %-«Hobby Pratt, enjoyment There—are splendid solos by bad Jackia McLaan/John Jenkins Tommy MeQuater. Eddie Blair, Duncan Campbell, each member, making this a ball for listen TWO GUITARS and Jimmy Deuchar, trumpets; Jock Bhln, Jimmy Kenny Burrell/Jimmy Raney Wilson, Wally Smith, George Chlcholm, trom ers and an unintended instructional record bone«; Burt Harden, tuba; George Hunter, Ronnie GIL EVANS AND TEN 7120 Baker« Tommy Whittle, Duncan Lamont, and Ron- for guitarists, bassists, and drummers LOCAL COLOR 7121 nie Rom, saxes; Andy Dennits, piano; Jack Sey The value of the record is best described Mom Allison mour, bass; Alan Metealfe, guitar; Bobby Orr, by Nat Hentoff in the liner notes— “Bar SOPRANO SAX 7125 drums. Tracks 1 and 8 ■ "Pratt, Blair, trumpets; hou Steve Lacy Chisholm, trombone; Harden, tuba; Hunter, Whit- ney’s strength; blues-blood; and sensitivity obv to others’ musical needs as well as his own moor, base; Metcalfe, guitar ; Orr, drams, Tracks imp 3, 5, and 7 Blair, Deuchar, trumpet*. Bakar. Shelly’s command of the drum as a thor ben Whittle, Rom, saxes; Deunit», piano Seymour, ough instrument, not just as a time-keep bass; Metcalfe, guitar: Orr, drums. Track b»" Lamont, tenor; Koss baritone; Denn its, piano; ing device; his presence when needed as a PRESTIGE RECORDS INC Seymour, bass; Metcalfe, guitar; Orr, drums. third voice and the unobtrusiveness of his Rating: ■A-A'A'A’ 447 WEST SOrh STREET NEW YORK 19 presence when that quality, too, is re Until I heard this LP, I had never quired. Ray, for the fullness, fitmness, and heard an LP by a British modern jazz rightness of his voice; his power, which group that genuinely moved me. line propels when it’s only suggested; and the Wil This one did. flame, like his colleagues’, of the peren Wil Keating, who arranged and directed nial ‘amateur de jazz’.” here, is a key arranger for the Ted Heath These are the sounds of musicians who ten band. In April, 1957, he assembled this enjoy playing and who enjoy playing to all-star group in London, drawing from gether some of Europe's leading bands, including This is The Rhythm Section, and it's those of Heath, Cyril Stapleton, Kurt Fd the Melodic Section, too elhagen. Jack Parnell, Eric Delaney, and Definitely recommended (D.G.) Paul Fenoulhet The charts — seven by and Keating and two (Tam and Local) by John Lewis and Sacha Dktel Deuchar—are performed by a 19-piece AFTERNOON IN PXKIS— ktlMti. 1267 > I int< Conor the Water ft »nt: Dear Old Stockholm: Aft» tior big band, a 12-piece group, a nine-piece ernooit in Paris; All the Things You Ara: Bag»* Groove; Willow Woop for Me. "small band,” and a sextet Personnels Lewis, piano; Distal, guitar; Barney There is some beautifully precise sec Wilen. tenor mi; Pierre Michelot, bass on aide tion work on all the band tracks. Deuchai drums on side 1 ; Kenny Clarke, drama on side S. solos with impressive force and maturity, lUtiwg! 0 AA A’i emerging as the most fluent soloist on the The work of the three Frenchmen on tur JAZZ GREATS OF OUR TIME Vol. II date. However, inspired solos are con these sides serves as a jolting reminder of (New Coral LP 57142—Ooi Soon) tributed, too, by Ross, Hunter, Whittle. the extent to which French jazz has (featuring) Blair, Baker, Chisholm, and Lamont. The caught up with the times WESTLAKE GRAD solos are not always of shockingly revealing Wilen, a 19-year-old prodigy from Nice, m BILL HOLMAN • BAND conception, but there is an above-average plays the kind of tenor that is more likely Kolmar continues his climb to fame After level of consistency throughout to be mistaken occasion dly for baritone trai graduation he joined Big Name Bands I was most impressed with the big band than for alto, in contrast with the thin- Barnett and then Kenton. performance. Several of the tracks arc toned tenors of the cool school. Hr oc Basie-flavored, with Metcalfe in the Fred casionally falters technically, but then, WESTLAKE OFFERS EQUAL mi¡ OPPORTUNITY! die Green role and Dennits introducing so have many musicians of far greater Sand for catalog. 2 year diploma and 4 a la the Count Deuchar’s Local, however, age and reputation. year degree courses. Dorm. Payment Plan. surges more 'A’-Train tradition Despite Wilen’s hard-bop tendencies, the Daily band and combo. Appi for vets. with the band pulsating in Ellington fash John Lewis mood generally prevails, par ion and building to a violent, hard-charg ticularly in his delightful unaccompanied WESTLAKE COLLEGE OF MUSIC ing climax. The Keating charts are some opening passages on Waterfront and IFi/- 8*4 71W Soviet Blvd.. Hollywood 45, Cel. WlMÄb what weak in terms of melodic content, low. If the MJQ to add but are rhythmically sound and lustrously guitarist, Distel would be the ideal choice interpreted by the hands. Hampden and his solos dovetail temperamentlily with Monster, however, are excellent, leading John’s, blending simplicity with good me to hope (hat Keating cuts an LP of taste and a modern harmonic ear. the big band alone. Michelot is overrecorded; aside from DOWN BEAT.

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