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experience/imagination/craftsmanship October 19, 1967 Vol. 34, No. 21 ONCE MORE FROM THE 1 DAN MORGENSTERN WEST down ' • BILL QUINN COAST IRA GITLER LEONARD FEATHER beat BARBARA GARDNER HARVEY SIDERS THE BIWEEKLY MUSIC MAGAZINE On Newsstands Throughout the World MARTIN GALL AY Every Other Thursday READERS IN 142 COUNTRIES GLORIA BALDWIN contents 6 Chords and Discords 13 News 16 The Natural: A Conversation with Erroll Garner: After years at the top, the famous pianist is seeking additional outlets for his musical ideas. By V/V6-8671 Harvey Siders Along comes California’s vibist-in- 19 Body & Soul: The Total Experience of Denny Zeitlin: Pianist Zeitlin achieves residence with some choice new Latin cooking, seasoned with Soul. a harmonious balance of mind and emotion, resulting in the “Now” sound. By Steve Toomajian 21 Cheers for Shearing: The resurgence of spirit and drive he shows in his Bolakete playing makes George Shearing seem ageless. By Harry Frost __ atthe 23 Down Patti: A Profile of Patti Bown: In the midst of a music world dominated Monterey by men, Miss Bown is recognized as an equal. By Helen Dance Festival 26 Caught in the Act: Barry Harris • John Malachi • Stan Kenton • Arrang¬ ers’ Holiday 1967 • Coltrane Memorial 30 Record Reviews 35 Rock ’n’ Pop, by John Gabree 38 Blindfold Test: Clare Fischer 45 READERS POLL BALLOT It happened in Monterey: the first 48 Strictly Ad Lib album to capture the full impact of Brazil's most gifted guitarist.

V/V6-5027 Exciting new group on the San Francisco scene comes up like thunder from Sausalito 'cross the

j 4 □ DOWN BEAT Gibson, the workingman's guitar.

Gabor Szabo & Gibson at work for Impulse Records. When you talk about jazz piano, you must mention education in jazz A Forum For Readers -by Dave Brubeck Nothing short of amazing is the Poll Corrections way the Berklee School of Music As a long-time fan and ardent admirer equips its students to achieve suc¬ of the Saints and Sinners, I was disap¬ cess and security in the competitive pointed that they were not listed in the music field. Even the short space be¬ TDWR section of the International Critics’ tween recent visits to Berklee, I’ve Poll. seen startling improvements in in¬ They did receive the required 10 votes dividual students . . . natural talent in that category, and a listing therein might harnessed into vital creative musi¬ have helped in gaining the recognition that cianship. Every effort is made to they do, indeed, deserve. make the most of H. M. Townley their inborn gifts. Toronto, Canada On one occa¬ sion. I gave Berk¬ There is a mistake in the tabulation for lee students some the Critics’ Poll: votes for the Gustav of my material; Brom Band (Doruzka [31; Heckmann [2]; their sight read¬ Vogel [3]; Waschko [2]) total 10 points. ing and interpre¬ Why was Gustav Brom not included in tation of it was the tabulation? Please correct this. equal to that of Eric T. Vogel any professional New York City musicians I have Mrs. Townley and Vogel are correct. seen. Especially Our computer regrets the oversights. gratilying to me is that with all the freshness and spontaneity of their improvising, their understanding of The Truth About Skokie melodic and harmonic principles is In John Gabree’s article Conversation consistently in evidence. with Lenny (DB, Sept. 7) he begins . . . Another important thing — the “My friend Lenny from Skokie dropped personalized faculty-student rela¬ over Saturday night . . .”. Please ask him tionship is completely unique, end¬ who his friend Lenny is. Having resided in lessly rewarding. It’s great to see Skokie for almost eight years, I have yet students free of the usual formality to know anyone who at the mere mention of classrooms, exchanging ideas of “Bird” or “Trane” will not think of a freely with their teachers. That’s little feathery creature with wings or the very exciting. Skokie Swift. You can hardly buy a Down Berklee graduates that I’ve met Beat out here. have the common three vital quali¬ Sandra Levy ties: mastery of the techniques of Skokie, Ill. jazz . . . complete command of their instrument . . . the ability to create Don’t Stuff and thereby contribute to the future The 32nd Annual Readers’ Poll has of jazz. begun, and I would like to make a request No wonder Berklee students that . . . people please do not stuff the have such an outstanding career rec¬ ballot boxes for their favorites. ord. I just wish there were more I, and I’m sure many others, want to schools like it to fill the considerable know how the readers really feel about need certain jazz musicians, and how (their views) differ from the Critics’ Poll. Alvin Joseph Los Angeles BERKLEE School of Music Dept. D 1140 Boylston St., Boston, Mass. 02215 Tell It Like It Is Enjoyed Dan Morgenstern’s words on Bessie Smith in your recent Critics’ Poll issue. We should all be pleased that she finally made it after a scant 30 years. (Freedom Now! Can’t happen overnight. Mustn’t rush things.) Sadder and wiser, I now have every¬ one’s number and realize most of the polled critics are the true mouldy fyggs— for (since labels are still stylish) it should be noted, and I gladly note it here, that the music of Louis Armstrong is as “avante” and “moderne” as possible. . . . and, of course, Are the ears of most of them there COLUMBIA RECORDS® critics plugged with wax—are their brains locked with fyggs!?! Surely hope it’s not where great jazz lives too late to apply the remedy of dear old on and on. Swiss Kriss as played on the Selmer trum- □ DOWN BEAT AMPLITONE

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Monaural AMPLITONE I Stereo AMPLITONE II FI FYacoustics Carrying caddy extra lift, pet by the King of Jazz—Louis Armstrong! If those who listen can’t hear that Louis’ swing is in, out of, and beyond polls . . . I guess I’ll accept the truism that the critics I refer to are tuned in to something ACE TONE else—on a lesser channel. I can’t be smug while I thank my lucky star that there is a King Louis Armstrong, here and now, for all of us. He is feeling just great and de¬ livering the most righteous message going. If you dig the Ayler and the Sun Ra—- guess that’s your red wagon. But do there have to be so many of these wagons drag¬ ging along? Long live Pops—the best friend jazz music ever had. Roni Failows New York City

The Great Debate Continues On the basis of his weighty, sweeping pronunciations of drivel and inaccuracy, I hereby nominate Robert Rosenblum (Chords, DB, Sept. 7) for the post of Reactionary Laureate. . . . The quote from the article on rock merely expresses bassist Steve Swallow’s observation of the scene, but Rosenblum uses it as a springboard to launch an at¬ tempt at mockery. . . . Rosenblum seems unaware that Swallow is a jazz bassist, not a big, bad rock-and-roller. Who told Rosenblum that a rock fan desires nothing more than volume and a big beat? I’m a rock fan, and I desire much more, and from the better groups I get it. (Incidentally, as a jazz fan I desire more than suspended rhythm and mysti- Ace Tone Top-5 Fully Transistorized Electronic Organ n, but that’s another story.) Apparently, Rocking performer at a rock bottom price, the Ace Rosenblum is put off by the volume and Tone Top-5 at $385 (B) is really irresistible. Plug into hysteria which are a commercial fringe, a any amplifier, and it puts out the grooviest rock, blues selling point of much rock. But thumbs and pop sounds around. Guaranteed to out-look, out- down on excessive volume? Let’s see—that eliminates Stan Kenton, Johnny Richards, Woody Herman, Dizzy’s 1947 band. . . . 4 lbs.,s., it’ssrealljTpo^l^o real I ™*65 Se"Se' The responsibility of a critic, Rosenblum 't wait. See it to the contrary, is not to uphold and raise values of jazz—that’s the musicians’ :s special bass . The critic’s responsibility is to get his storized organs! ) cents in at the right moment so he can itinue to pose as an authority. The only ent jazz criticism is reporting; the only dligent critics are the journalists. Words

To close, may I offer a quote from senblum—“My purpose in writing this er is not to eliminate rock from the

Yell, teenie-boppers, we can rest easy; are spared the thunderbolt of Jupiter! Bob Melton San Diego, Calif.

"or several of my 21 years I have been avid jazz fan. I’ve had countless people me a real jazz fan reads Down Beat 1 I agree with them. I think you’ve got reat magazine on yo is one thing about it t 1 my friends. How c e^ames^like the dies, Supremes, and Lovin’ Spoonful pop up in your publication? I and every other jazz fan consider DB as their Bible to speak, so please leave rock articles to neone else. Let’s stick to the only real sic the world knows—JAZZ! John Kaffenberg USS Nereus AS-17

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REX STEWART DIES and his writing also appeared in Playboy peter Norman Bowden, baritone hornist and other magazines. At the time of his Dick Carey, clarinetists Barney Bigard and Cornetist Rex Stewart, 60, died Sept. 7 death he had nearly completed work on a Bob McCracken, tenor saxophonist Sammy in Los Angeles of a brain hemorrhage. He book of jazz memoirs. Lee, organist Edgar Hayes, and bassist was stricken at the home of a friend and Stewart, who played the cornet exclu¬ Ira Westley. was dead when doctors and a fire depart¬ sively throughout his career, early devel¬ Stewart’s son, Rex Stewart, Jr., then ment rescue team arrived minutes later. oped a distinctive style of his own, which read a passage from his father’s will ask¬ Stewart was a true original whose musi¬ he refined and distilled into one of the ing that there be “nothing sad,” and that cal career spanned five decades. Born in most personal sounds in jazz. his friends should “eat, drink, and be mer¬ Philadelphia, he was raised in Washington, His early work was characterized by ry.” In accordance with Stewart’s wish, D.C., where he began to receive music great speed and vehemence, as well as a the assembly moved to a nearby Elks Hall, instruction in grade school, and also from lively sense of humor. Later, especially where food and refreshments were served, private teachers. during his Ellington period, his range of and a session took place, including the His professional career began early; he expression broadened, and his playing was musicians who had performed at the serv¬ was only 14 when he went on the road often marked by speech-like inflections, as ice, and pianist Nellie Lutcher and drum¬ with a musical comedy show. He came to well as the half-valve effects for which he mer Jesse Price. New York in late 1921 with a band called the Musical Spillers, and for the next sev¬ eral years worked at many famous Harlem spots with numerous leaders, including BIG DAY FOR JAZZ Elmer Snowden. IN NEW YORK CITY Louis Armstrong recommended Stewart as his replacement with the Fletcher Hen¬ As part of New York City’s “Cultural derson Band, with which the young cornet¬ Fortnight” (Oct. 1-14), Mayor John ist stayed for several months before joining Lindsay has declared Oct. 7 New York’s Fletcher’s brother Horace at Wilberforce first official Jazz Day. Several concerts are University in a band that also included scheduled, and many attendant events have Benny Carter. mushroomed around them. Stewart rejoined Fletcher Henderson in The impetus for Jazz Day was supplied 1928, staying for more than two years, by Jazz Interactions, working in coopera¬ after which he joined McKinney’s Cotton tion with the city. Pickers. Following a brief reunion with On the morning of Jazz Day, an all-star Henderson, Stewart led his own bands in group will give three Jazzmobile concerts New York for several years, played briefly in Harlem at locations near public schools with Luis Russell, and in Dec. 1934 began (134th St. between 7th & 8th Aves. at 10; a 10-year stay with Duke Ellington as one 105th St. between 1st & 2nd Aves. at 11; of the band’s most prominent soloists. and 114th St. between 7th & 8th Aves. at noon). In case of inclement weather, the Leaving Ellington in 1944, Stewart REX STEWART schools’ auditoriums will be used. formed his own combo, which he took to Unique Voice Stilled Europe in 1947. He remained abroad The outstanding feature of Jazz Day through most of 1951, spending long peri¬ became noted. He was also very adept with will be the premiere of Jazzhattan Suite ods in France and Australia. Upon his a plunger mute. 1967, composed by Oliver Nelson. The return to the United States, he settled in Stewart’s greatest solos include Stampede; work, a special commission by B.M.I., has upstate New York, where he was active Sugar; Sugarfoot Stomp (Henderson); Do been described as celebrating the relation¬ as a disc jockey and program director You Believe in Love at Sight; Rocky Road ship between New York City and jazz. It for two local radio stations, and also (McKinney); Kissin’ My Baby Goodnight; will be premiered at the Central Park Mall played occasional gigs. Boy Meets Horn (his famous feature); in a free public concert at 2 p.m. Then, In 1956, he returned to New York City Subtle Lament; Morning Glory; John Har¬ at 8 p.m., it will be repeated for an audi¬ and full-time musical activity. He organ¬ dy’s Wife (Ellington); Tea and Trumpets; ence of invited guests, including city offi¬ ized and directed two Fletcher Henderson Sugar Hill Shim Sham; Finesse; 1 Know cials and leading figures from the music alumni bands at the Great South Bay Jazz That You Know; Mobile Bay; Subtle world, at the Grace Rainey Rogers Audi¬ Festival in 1957 and 1958; in the latter Slough; Shady Side of the Street (own torium of the Metropolitan Museum. year, he also appeared at the Newport Jazz groups). On both occasions, trumpeter Joe New¬ Festival with a group of ex-Ellingtonians. Stewart also composed many fine themes, man, vice-president of Jazz Interactions, Stewart was with the house band at among them several mentioned above, as will conduct a large orchestra including Eddie Condon’s from Feb. ’58 to July ’59, well as Backroom Romp, San Juan Hill, trumpeters Ernie Royal and Thad Jones; and was featured in the famous television Dreamer’s Blues, Helena’s Dream, and Jug trombonists Urbie Green and Benny Pow¬ program The Sound of Jazz. Blues. ell; reed men Phil Woods and Zoot Sims; In 1960, Stewart settled in California, A memorial service was held Sept. 11 at bassist Richard Davis; and pianist Billy where he resumed his disc jockey activities the Angelus Funeral Home in Los Ange¬ Taylor. on station KNOB as well as gigging with les. Stewart had left specific instructions Duke Ellington will receive a Musician his own groups. He appeared at the Mon¬ in his will as to the kind of service he of the Century award, and Mayor Lindsay terey Jazz Festival in 1962 and 1965, and wanted. He requested that there be no will be presented with a special award on the following year toured Europe and eulogy; instead three young poets from the behalf of the city’s jazz community. appeared at the Prague and Barcelona Watts Workshop (in which Stewart had For those not invited to the Metropoli¬ jazz festivals. participated) recited from their works. tan, there will be a concert at Town Hall In the ’60s, Stewart also developed a Stewart had requested a musical tribute, with pianist Toshiko and an all-star band talent for writing which first had become which was organized by his old friend including trumpeter Bill Berry, saxophon¬ apparent with a contribution to the 1946 Benny Carter. Trumpeter Teddy Buckner ists Charlie Mariano, Eddie Daniels, and Esquire Jazz Book. His witty and percep¬ played a muted solo version of Just A Joe Farrell, and bassist Ron Carter. This tive profiles of jazz greats past and present Closer Walk with Thee, and then, Mood event is not sponsored by Jazz Interactions, became a regular feature of Down Beat, Indigo was performed by Buckner, trum¬ but will be tied in with Jazz Day. October 19 □ 13 MILESTONE RECORDS traces of electronic music of the continen¬ did his ever-changing version of West Side tal variety. The score, rewritten by drum¬ Story, which he transposed to Illinois by EXPANDS OPERATIONS mer Rod Pilloud, was conducted by organ¬ enframing it with Chicago. He followed Milestone records, the New York-based ist Ted Shreffler, who doubled tambou¬ this with Tea for Two, building an enor¬ label devoted primarily to jazz, has been rine with his left hand. Also in the Syrcus mous, glittering edifice on a slight founda¬ acquired by Robert Bialek, a leading are Dick Powell, John Gaborit, and Lee tion as only he can. Miss Tisheff returned Washington, D.C. record and book retailer. Graham, all of Seattle. with Debussy’s Horn mage a Haydn and La Milestone began operations on a limited Robert Joffrey, the ballet’s founder and Cathedrale Engloutie, and Ravel’s Menuet scale last year with new releases by trum¬ director, asked the Syrcus to accompany sur le nous d’Haydn and Valse a la mani- peter Thad Jones and blues singer-guitarist Opus 65 for four performances in Tacoma, ere de Borodine. The second Debussy Big Joe Williams, and reissues of Johnny and then signed the band to write a new piece, with its liquid colors and rhythms, Dodds and Ma Rainey material. piece for premiere in New York City communicated to the jazz section of the Sept. 19. Astarte, the first ballet choreo¬ audience most readily, for it created a Orrin Keepnews, former a&r chief at graphed by Joffrey in five years, has a mood with which they were familiar, if Riverside records, who had been producing rock music score written by Pilloud and only in translation. for the label and serving as over-all adviser his friends, and was given five perform¬ on a part-time basis, has been named Hines brought the performance to a con¬ ances in New York with the Crome Syrcus general manager by Bialek. clusion with a moving Blues for Art Tatum in the pit. and a dazzling improvisation on I've Got Milestone’s first release under the new Opus 65 reverted to Macero’s original the World on a String. The fact that three- regime will include albums by vocalist 28-piece chart. quarters of his music had been impro¬ Helen Merrill, reed man James Moody, The show was produced by Boyd Graf- vised had not been stressed, but by this pianist Wynton Kelly, and French pianist myre, who also presented the Moby Grape time it was evident enough. This factor, Martial Solal. As part of its classic jazz and the Time Machine, west coast rock the distinctive sound he produces from reissue series, Milestone will offer sets by bands. They were an anticlimax. the piano, the strong beat of his foot on Jelly Roll Morton and Blind Lemon Jef¬ the parquet floor, and the little vocal ferson. noises indicative of emotional and har¬ To feed the reissue series, arrangements “FATHA HINES, MEET monic involvement, were all in contrast have been made to draw from the catalog with the formal precision and discipline of of Paramount records with the active co¬ PAPA HAYDN . . the other pianist’s playing. operation of John Steiner, current owner In sum, it was a program as instructive of that pioneer jazz label. Sets by King Among Earl Hines’ many admirers is as it was entertaining, one that might Oliver and Louis Armstrong are being concert pianist Vera Tisheff. A child prodi¬ prove a huge success in college audi¬ planned. gy, she played in Steinway Hall when she was 8 and in Carnegie Hall when she was toriums. —Stanley Dance Milestone will also employ the services 9. Much of her musical education was of several independent producers. “We are subsequently acquired at the Eastman pleased to be working with men who School of Music in Rochester, at Yale, and really know what they are doing in their POTPOURRI at Juilliard. Besides numerous personal special fields,” Keepnews stated, “jazz pro¬ and TV appearances in this country, she A mammoth benefit for two ailing jazz ducers like Albert Marx on the west veterans, trumpeter Sidney De Paris and has made concert tours of Mexico, Yugo¬ coast and Dick Katz in New York, and pianist Hank Duncan, will be held at the slavia, Greece, and Canada, where her blues expert Pete Welding.” ability as a linguist has also sometimes Village Gate in New York City Oct. 8. Both the upstairs and downstairs rooms stood her in good stead, for she speaks of the club will be utilized for a continu¬ Russian, Macedonian, Greek, Serbo-Cro¬ ous round-robin of music. Scheduled to A FIRST IN SEATTLE: atian, Italian, and French. appear are bands led by trumpeters Roy After hearing Hines at the Village Van¬ ROCK MEETS BALLET Eldridge, Buck Clayton, Charlie Shav¬ guard, Shepheard’s, and the Riverboat in ers, Joe Thomas, Yank Lawson, Henry When the City Center Joffrey Ballet New York, Miss Tisheff surprised him by Goodwin, and Louis Metcalfe; trombon¬ combined forces with the Crome Syrcus at suggesting that they give a recital together. ists Wilbur De Paris and J. C. Higgin¬ the Eagles Auditorium in Seattle, on Aug. He was willing enough, but their varying botham; clarinetist Tony Parenti, and 2, it was apparently the first time that a itineraries and the problem of booking a pianist Dick Wellstood, as well as pianist rock band accompanied a ballet perform¬ theater caused the project to be postponed. Willie (The Lion) Smith’s trio; clarinet¬ ance. Eventually, however, on the Sunday after¬ ist Pee Wee Russell; tenorists Bud Free¬ A standing ovation from about 1,000 noon of July 23, the recital was given man and Buddy Tate; pianists Claude hippies, jazz fans, balletophiles, teenie- in the Tarrytown home of Alex Racolin, Hopkins, Sam Price, and Cliff Jackson; boppers and “straights” greeted the dancers a well-known publisher of art books. Jimmy and Marian McPartland; trom¬ and rock musicians at the end of Opus 65, Miss Tisheff planned the program after bonists Jimmy Archey and Dickie Wells; a half-hour ballet choreographed by Anna studying Hines’ recent records. She wanted singer Jimmy Rushing, and others. The Sokolow, with music based on a score by to focus attention more on “the contrasts, benefit is sponsored by a committee head¬ Teo Macero. separations, and extremes” than the simi¬ ed by Metcalfe and including AFM Local The City Center Joffrey Ballet was in larities, in the belief that such juxtaposi¬ 802 president Max Aarons, Fess Wil¬ residence for the summer at Tacoma, near tions would result in greater depths of “in¬ liams, and Hayes Alvis. Emcees will in¬ Seattle, and had asked the Crome Syrcus, tensity, insight, and satisfaction.” As it clude Fr. Norman O’Connor and Billy a Seattle rock band whose members had turned out, her intention was amost per¬ Taylor. Tickets are $3 and can be ob¬ all attended the University of Washing¬ fectly realized. It was certainly a new tained at the Gate, Jimmy Ryan’s, the Ali ton School of Music, to adapt Macero’s experience for the 80-plus enthusiastic Baba, and through radio station WLIB. 28-piece score for rock band instrumenta¬ guests who jammed the Racolins’ large tion. Judging from the reactions of both living room. Ronnie Scott’s Club, London’s leading audience and performers, the experiment The pianists sat facing each other at jazz emporium, is in the midst of an Au¬ was largely successful. two grand pianos, and Miss Tisheff opened tumn Jazz Festival, the club’s most am¬ The Crome Syrcus set up music stands with six short, sensitive pieces by Rameau bitious venture to date. The festivities be¬ with lights, tympani, electric organ, and (Les Tendre Plaintes, etc.). Hines “replied” gan Sept. 18 with the Max Roach Quintet their usual rock instruments, plus alto and with St. James Infirmary and Avalon, the featuring Abbey Lincoln, in residence tenor saxophones, flute, and trumpet, and former slow, sad, and then menacing, and through Oct. 7. On Oct. 9, the Top Brass, read the entire performance. The rock the latter full of power and fire. Miss a touring U.S. package including trum¬ flavor never quite disappeared, although Tisheff next played Haydn’s Sonata in B peter Maynard Ferguson and his band, the music had passages of hard-swinging Minor. the Clark Terry-Bob Brookmeyer Quin¬ jazz, elements of classical origin, and After an intermission, the jazz pianist tet, trumpeter Doc Cheatham, trombonist 14 □ DOWN BEAT Benny Morton, pianist Nat Pierce, bassist Eddie Jones, drummer Jake Hanna, and DUKE ELLINGTON, PIANIST various British musicians, comes in for a week. On Oct. 16, Herbie Mann’s quintet 1967 is Canada’s centennial year, and written passages at the beginning and end. takes over; Oct. 23 will bring the Gary all kinds of special projects have boosted Ellington, at the piano, stared intently Burton Quartet; Roland Kirk starts Oct. the work of the music community. Re¬ at the score as the orchestra ran the 30; Archie Shepp (with Roswell Rudd lated to this, but not directly a centennial music down. Occasionally he would doodle and Grachan Moncur III on trombones) project, is the five-year plan of a special away at the keyboard, often squinting opens Nov. 13; and the festival concludes committee of the Composers, Authors, quizzically at the manuscript. After listen¬ with Stan Getz and his foursome, featur¬ and Publishers Association of Canada ing to the music two or three times, he ing Roy Haynes (Nov. 27 to Dec. 12). (CAPAC) and the Canadian Association began to figure out his parts. He used * Also on hand throughout the proceedings of Broadcasters (CAB). They have allo¬ single-note lines, displaying much economy will be a variety of top British groups, cated $250,000 for the recording of Cana¬ in what he chose to play. By the time plus vocalists Marge Dodson and Druid dian music. On July 24 and 25 they the taping began, the pianist was relying Chase, and alto saxophonist-vocalist Vi embarked on their eighth endeavor: the almost entirely on his ear for guidance. Redd. recording of works by jazz composers At the second session—later the same Ron Collier, Gordon Delamont, and Nor¬ day—the strings were augmented by a jazz Miles Davis, the Modern Jazz Quartet, man Symonds (DB, Sept. 7). orchestra of four trumpets, three trom¬ Wes Montgomery, Jimmy Smith, Duke When the project was first conceived, a bones, five reeds, French horn, guitar, Ellington, Oliver Nelson, and Don Ellis little over a year ago, it was decided to bass, drums, and additional percussion. are slated for the Second Annual Pacific invite a famous jazz musician to be the This time, a Ron Collier work was re¬ Jazz Festival in Costa Mesa, Calif., Octo¬ featured soloist. corded. Aurora Borealis, written originally ber 6-8. The three-day event will include Duke Ellington has been closely associ¬ as a jazz ballet for television, is a ten- five concerts, three of them at night. ated with the Canadian music scene since minute work evoking many differing Tickets for the evening performances are he was commissioned to write the Such moods. It sets off the soloists against the priced at $6.50, $5, $4, and $3, and after¬ Sweet Thunder suite for the Stratford full orchestra. Fluegelhornist Freddie noon prices are $4 and $3. Tickets and Shakespearean Festival. Thus, he seemed Stone, trumpeter Guido Basso, and trom¬ further information are available from the a natural choice for the featured soloist’s bonist Butch Watanabe shared solo space Pacific Jazz Festival, P.O. Box “Jazz,” spot. Last autumn, Ellington was again at with Ellington. His two solos were in con¬ Costa Mesa, Calif. cwfnrd. He was approached and was im- trasting veins. The second day was long and exhausting tor everyone. Collier’s 11-piece jazz band /was on hand, and Gordon Delamont’s Song and Dance was tackled first. Written J especially for the occasion, it was a diffi- | cult work in two parts. In the first of his solo spots, the Duke ran into problems with the construction of the piece, but this was resolved by his taking the solo unaccompanied and out of tempo. It proved to be very effective, sharpening the contrasts within the piece. With studio time running out and Elling¬ ton having to catch a plane, the pressure mounted noticeably. The three final pieces were all short, and had been chosen for their radio air-play potential. Symonds’ Fair Wind, a catchy bebop riff, was quickly committed to tape. Ellington’s piano part acted as a running commentary. Collage #3 by Delamont was another matter. An intricate chart requiring great precision in performance, it gave the band considerable difficulties. Finally a break was called to let everyone catch their breath. On return, everything ran smooth¬ ly and Duke’s solos grew in stature and complexity with each take. Finally, Collier’s Silent Night, Lonely Night was recorded with relatively few problems. It had been a tough assignment, but Ellington seemed reasonably satisfied with the outcome. He wouldn’t commit himself, of course, except to say “I seemed to play the same thing all the time.” He was prob¬ ably putting everyone on, for his playing had been rich in variety and color. As Norman Symonds put it: “Working with Duke was a memorable experience. I had always respected him, but it’s obvious I had completely underestimated him. He’s a musician who has never stopped grow¬ ing. He utilizes the experience and knowl¬ edge of 50 years to build fresh ideas and approaches. He’s a virtuoso musician.” —John Norris October 19 □ 15 yes, Virginia, there are leprechauns. I Kibbon, and percussionist Jose Man- it will take, nor even the instrumenta¬ know because I’ve been running into gual for a scheduled German tour. tion at this point, but one thing he one lately in Los Angeles. It seems When the tour is over, Garner will makes certain: “I want to be free to everywhere I go, he’s there, listening, be back in Los Angeles, hopefully to experiment.” burying himself in some dark corner, get down to some serious writing. Since Garner paused a bit, then came up just “quietly finding out what’s happen¬ Garner would be writing themes and with an interesting self-evaluation: “I ing.” He must be a leprechaun. He’s someone else would be doing the scor¬ feel like I got a lot of stuff on the 5'2" and has a pixieish smile. Of ing, he was asked about his choice of surface, but I’m really like an iceberg, course, he doesn’t always get away with orchestrator. you know what I mean? There’s a whole being incognito. Sometimes the musi¬ “I would pick someone who could lot of stuff down there that hasn’t seen cians in the clubs he infiltrates recog¬ understand what I hear and what I feel. daylight yet.” nize him, and then comes the inevitable Someone who knows me. The first one The idea of writing for films or TV, announcement: “Ladies and gentlemen, I can think of is Leith Stevens. He’s or for that matter, the idea of even we have a very special guest with us the one I did the film A New Kind of writing songs, brought up a subject tonight, and with a little encouragement, Love with. He’s scored over 60 films which could be a source of embarrass¬ I think we can bring him to the stand and you might say he knows a little bit ment to a less honest musician than . . . ERROLL GARNER!” of everything. He goes way back; in Garner. To have Garner in our midst, or for fact, he’s the one who did the arrange¬ “Do you or do you not read music?” that matter in anyone’s midst, for an ment for Bunny Berigan on I Can’t Get was the tactful way I broached the extended period is a rare privilege. His Started. Yeah, Leith knows the people topic. “There have been distortions and traveling schedule is usually as persist¬ who can play and he always gets the exaggerations in articles I’ve read about ent as his left hand. But at the moment best musicians on his dates.” you, and general disagreement among he’s “re-discovering” the city he once Another project is occupying Garner’s musicians whenever your name crops briefly called home. busy mind—that of music for an album up.” Garner replied, without hesitation, Of course, there is more involved devoted to the “sights and sounds of “The truth is I don’t. And there are a than nostalgia. Garner has been bitten Los Angeles.” He’s not sure what form lot of people who still don’t believe it.” by the writing bug. Not just the writ¬ ing of songs; he’s more than proven his skill in that form. What he seeks are outlets commensurate with his talents. And since those talents are formidable, the ideal outlets would be motion pic¬ tures and television. But he has his sights set beyond. “I really want to write something. Not classical, but modern. I hope to do a ballet someday. And I don’t mean a ballet like West Side Story. I’m talking about a real legit ballet like Swan Lake. I would also like to write a Broadway show—either a musical comedy, or a play that calls for music in it. I figure I’m not the only one to write flops. Not that I want to spend the people’s mon¬ ey—what do you call them in the thea¬ tre—stockholders? Don’t get me wrong. I don’t want to make them lose their money, but I wouldn’t be embarrassed. The most important thing for me is that at least I made the attempt. Under¬ stand what I mean? Man, I just want to spread.” He still hadn’t touched on the most accessible Hollywood media—films and TV. Those answers were harder to come by. “Well, I can’t say anything at this point. We’ve been in touch with some important people and I’ve had a few scripts sent to me already, so we’ll see what happens. At this point, noth¬ ing has been signed.” Another factor temporarily interfer¬ ing with Garner’s campaign to “spread out” is his prohibitive concert schedule. He’s really torn, because he loves to travel and he loves to play—whether it be in a concert hall or a club. At press time, he was busy choosing a drummer to go along with him, bassist A1 Mc- 16 □ DOWN BEAT “Did you ever study piano as a The real enigma is the creative proc¬ that would sound like. child?” ess itself. Woodshedding and dues- “I’ll never forget the first time I ever “Oh sure, I went up to about the sev¬ paying can only partially explain it. did it in a recording studio. It was at enth book when I was a kid in Pitts¬ Studying with the most gifted teachers Columbia, and a guy runs out of the burgh. But one day my piano teacher won’t reveal much more. And when control room and he starts looking all said, ‘O.K., let’s go back to Book One.’ someone like Garner comes along, all over the piano. He was one of those When I couldn’t remember how certain theories are shot to hell. It’s better not real great guys, you know; he knew 'all melodies went, she suddenly realized I to try to explain him—merely to enjoy. the knobs and everything. Well, he had learned everything she played by “I’m one of the fortunate pianists in kept searching and just as he was ready ear. Not only that, but I was adding this world. I’ve had some of the finest to get me another piano, he found out notes that weren’t there. So that ended rhythm sections that any pianist could it was me. It was a funny scene, but that. She felt so ashamed, ’cause she ask for. I’ve had Shadow Wilson, John what could he do? So after that they and my mother belonged to the same Simmons, Red Callender, Harold West, just let it stay in. club at the time. She really felt so bad J. C. Heard, Oscar Pettiford, Slam “I’ll tell you something: I can be about the whole thing she wanted to Stewart, Leonard Gaskin, Charlie Smith, walking down the street and I start give my mother the money back. But Denzil Best, Candido, Eddie Calhoun, humming to myself, and before I catch they decided to put the money into the Kelly Martin—and I’ve recorded with myself, I notice people giving me strange club.” guys like Don Lamond and Alvin Stol- looks. It happens a lot, but I can’t help this is proof that Erroll Garner is ler. Jeez—I think I’ve been very for¬ it—something comes into my mind, one of those rare birds in this business tunate.” y’ know what I mean?” known as “naturals.” It is a much Equally fortunate were those who certain things would come into his abused and little understood term, tossed played behind him. Garner never asked mind when he was playing cocktail off as casually as the phrase “perfect any one of them to duplicate the sound lounges, but fortunately he could give pitch.” But “natural” applies to Gar¬ of the bass player or drummer who vent to them. Things like Misty, ner as accurately as the word “pianist.” preceded him. “I would never tell a Dreamy, Solitaire, Gaslight. “They’d People are amazed by natural musi¬ guy to play like someone else. I think have this request thing in the clubs, you cians, and even though they don’t un¬ that’s the worst thing you can do. You know, little cards on the table. The derstand the mechanics of music, are know, I wouldn’t even tell him what I people would write their requests on awe-struck by the fact that such a great wanted to hear—well not exactly. I the card, then send it up. Oh, man, I’d sound can come from an unschooled might tell him what I expect to hear, have them stacked up this high, and talent. There are even musicians who but I always tell him to play it his after I played a bunch of requests I look upon Garner with suspicion. They way, which is a different thing.” got brainwashed. So to get my mind respect his proficiency, but wonder how “How about playing your way? When off all that stuff, I’d sit there and make such consummate artistry can flow from did you develop that guitar-like left up my own melodies.” those fingers. hand,” I asked. Garner’s lack of reading knowledge Bassist A1 McKibbon, who can hold “Oh that—I started doing that in a does not hinder his composing. He his own in the rhythm section of any night club in Pittsburgh. You know, merely puts the melody on tape or disc band or combo, is one of those who has I’ve really been playing piano since I and someone takes it off. When he no doubts about Garner. Following a was three years old, but it wasn’t until played with big bands, such as Georgie recent week at the Greek Theatre (in that job that I really had to do some¬ Auld’s, he didn’t have to rely on anyone the Hollywood Hills) in which the pi¬ thing different. I tried to hire a drum¬ else. “I just sat there and listened to anist used McKibbon on bass, and Bill mer—it was the kind of club where they the band rehearse. Then when they Douglass on drums, McKibbon told this wouldn’t let you have a bass. So I just finished and said ‘let’s run down every¬ writer, “I wouldn’t dare take my eyes had to provide my own. Between my thing now with the piano,’ boom—there off Erroll’s left hand. He not only re¬ foot and my left hand I started making I go. If I had a solo, I knew where it harmonizes at the drop of a hat, but he my own rhythm section.” came in. Once it hit my ear, there it also played something in A that we Garner recalled that he used to stomp stayed. The more they played, the more had rehearsed in A-flat!” so loudly the club owner decided to put it stayed. There were times when I Garner was amused when that inci¬ a rug under the piano. At that time learned certain chords from guitar play¬ dent was brought up. His eyes flashed he wore cleats on his shoes, and even ers who played chords the way I do.” that familiar mischievous look as he with the rug the sound still came out Anyone familiar with the pianist’s ex¬ said, “Well, I’m not sure what key I as “clack, clack, clack.” pansive, free-wheeling style of playing was in, but I wanted a more brilliant “Funny thing—everyone thought I might wonder if playing in a band sound, something that would give the was making triplets with my heel— might cramp his style. But according to tune a different outlook.” ‘clack, clack, clack’—I’d stomp on Garner, if he could feed a saxophonist No put-on; just a natural answer. As breaks and everything. But that’s really or trumpeter a good background, it natural as his gravitation to a sharp key. how the steady sound of my left hand gave him the same satisfaction as taking All part of the paradox that is Erroll got started.” a chorus himself. Garner. A paradox because he’s a hap¬ So much for the hand and the foot. As Garner explained: “I love to comp, py enigma. Enigmas aren’t supposed Now what about the grunt-along? and that’s what they need more of in to be happy. Everybody knows that “Oh that? I’ve been a noise-maker big bands today—and behind singers. except Garner. But there he is, sitting all my life. There’s no thinking back You know, I came up playing for sing¬ on top of the world (with the aid of on that. At times I catch myself when ers. I know them very well, well enough his telephone book—as inseparable I get real loud and I try to hold back a to stay out of their way and just keep from Garner as the handkerchief from little bit. But really, I’m not doin’ any¬ feeding ’em. I’ve worked with Billie Satchmo) bursting with talent; bub¬ thing—just playing and singing what I Holiday, with Sarah, and once or twice bling with the contentment that aesthetic feel. I find it helps me to get the notes with Ella. I didn’t work with Ella; and financial success bring; brimming out right. Of course, if I ever played just jammed with her, somewhere on with ideas for new fields to conquer. what I’m humming, I don’t know what the Street” (52nd Street, in the mid-40s). October 19 □ 17 “I used to drop into the Down Beat tract restriction hangin’ over my head, mean correct Bossa Nova.” —that was next door to the Three then I can’t.” With interests as broad as that, it Deuces—and it was really two kicks in Garner explained that if he had a comes as no surprise that Garner is one: not only playing behind Billie, but week off after, say, the gig at the Greek concerned about reaching the youngsters working with Big Sid Catlett on drums. Theatre, he could play anywhere. But across the country. “Sure, it’s possible to Boy, oh boy, that was a million-dollar the contractual ban on his pre-Greek go to the schools. I’ve played many gig for me. Of all the singers I ever appearances protects the public. “Some¬ high schools. But what they should have heard, Billie Holiday had the finest body will say ‘I saw him jamming three more of is the matinee where the kids sense of expression. There was a cer¬ nights in a row—why should I go up can attend. They don’t have to serve tain magic in the way she’d sing the to the Greek to hear him’—you fol¬ liquor. They got ’em for the rock ’n’ words—like she was living them for low?” rollers—so why can’t they have ’em for you right before your eyes. And of all ON THE SUBJECT of the avant garde, jazz?” the singers today, Peggy Lee shows the Garner was extremely cautious about The rapport Garner establishes with most respect for her.” committing himself. There were some his young audiences, whether at special To Garner’s way of thinking, accom¬ sounds he dug; others he “didn’t quite matinees or during numerous campus paniment is an important art. He cited get with yet.” Maybe “cautious” or tours, is so strong it has a built-in dan¬ the contributions of Ellis Larkins, not “non-committal” are inaccurate. He ger: a type of “backfire” induced by only for his backing of Lee Wiley, but was being very fair about the subject. idolatry. What if some gifted young¬ for the accompaniment he lavished on His criterion for judging is listening to sters should decide that since Erroll harmonica virtuoso Larry Adler. a group in person. Recordings are one made it without reading or formal study, The praise that Garner heaped on thing, but as he pointed out, “a lot of why should they bother? good accompanists, plus the genuine these guys are well-trained, and they “Well, for the kids’ sake, I wouldn’t satisfaction he derives from comping, went to universities. If you went to want to see that happen. If a kid has a seem inconsistent with his musical per¬ meet ’em and talk to them, you might gift, then decides ‘well I don’t read and sonality. Outwardly, that personality is learn a little more about what they’re that’s tough,’ he might find himself un¬ assertive, persuasive, as unyielding as trying to do or what they’re aiming for. able to play anything worthwhile in the the Rock of Gibraltar, and firm enough But I haven’t been able to catch these future. If he’s lucky enough he may to test metronomes. But somewhere in groups in person. That’s been my hang¬ end up as just another one of those the communications apparatus that links up.” However, he did offer one basic cocktail-bar piano players.” head, heart, and hands is the self-effac¬ reaction to the sounds of today: “I don’t Warming up to the subject, Garner ing side of his nature—that part of his think jazz should get to the point where had another bit of advice for young psyche that encourages him to subordi¬ it is completely undisciplined.” musicians: “Whatever you write or play, nate his strong pianistic personality for No hang-ups when the conversation make sure it has a little bit of melody the over-all good of the musical expe¬ got down to one of the racial schisms to it. Like I always say, if I take you rience. dividing jazz today. To the allegation out, I’ll bring you back when I come That’s the Erroll Garner that’s been that jazz is the exclusive property of back. I don’t say it’s wrong to take making the rounds—from the Sunset the Negro, Garner remarked, “I don’t people out—but don’t leave ’em to find Strip of West Hollywood to the “chitlin get that message. I certainly couldn’t their own way back.” circuit” of South Los Angeles—quietly, say that, because I’ve been around some With Garner as guide, no listener unobtrusively, devoid of fanfare. pretty good musicians who can play jazz will ever have a re-entry problem. Per¬ “I prefer to do it that way, ’cause real well. Like Zoot Sims, who is a haps that’s the secret of Garner’s lon¬ that’s what I believe in. It’s the only very close friend of mine, and A1 Gohn gevity. A gimmick as uncomplicated way I get to hear what’s going on, and —I can name off plenty. Woody Her¬ as “a little bit of melody.” I’ve seen it saves an artist from either getting man had colored and white musicians diverse audiences react to Garner’s pi- nervous or going into some other kind in his band and they liked each other’s anistics, and their reactions were as of bag just because I’m there. I just playing. Charlie Parker had A1 Haig— predictable as Erroll’s grunts. want to catch them relaxed, like they Dizzy had Lalo Schifrin; they all liked First comes his characteristic intro: are, then let me draw my own conclu¬ each other’s playing, and hung out to¬ highly complex, contrapuntal imitation. sions.” gether, went out every night and jammed (Maybe Garner wouldn’t describe it The only thing that occasionally pre¬ together. So it doesn’t make sense. If that way, but then he’s not obliged to; vents Garner from drawing his own con¬ you feel that way about something, why he merely perpetrates it.) Not only clusions is, using Garner’s epithet, “an do it if you’re not gonna be happy with does the left hand know what the right ear-beater.” He invariably comes across it? Why record with each other, unless hand is doing, but it literally gives that species just when he’s ready to sit it’s for the money? What are they prov¬ chase, setting up a rhythmic “interfer¬ back and listen to something of interest. ing? I’m sure they had their choice of ence” so intricate in its syncopation Since the “ear-beater” is a universal people they wanted to play with.” you tend to trip over the offbeats. annoyance that confronts all of us in Garner’s personal preferences among Then comes the release from the ten¬ one context or another, I asked Garner fellow pianists back up his own feelings sion: just a little bit of melody over that for his method of extricating himself on the matter. “I like Shearing, Oscar steady, tight-voiced pulsation in the from his grasp. Peterson, Teddy Wilson, Wynton Kelly, left hand. Before he reaches the fourth “Well I hate to say it, but when it Andre Previn, Ray Charles, and Gerald bar, he is bathed in appreciative ap¬ reaches a certain point I simply an¬ Wiggins.” But his tastes are not con¬ plause. nounce ‘excuse me, but I’ve got to go fined to the keyboard. “I love to hear And Garner returns the warmth as to the men’s room,’ ” he laughed. big bands; singers; anything that in¬ he flashes his little-boy smile—teeth, Another common but more enjoyable cludes Ray Charles; that group with Red eyes, and even the patent-leather hair, interruption to his listening forays is the Skelton—you know, the Alan Copeland all reflecting the lasting love affair be¬ invitation to sit in. And Garner con¬ Singers; I like rhythm and blues, a little tween the audience and the swinging fessed, "I’ll sit in any time they ask me. rock ’n’ roll; I like a lot of classical leprechaun perched on the telephone Of course if there’s some kind of con¬ things and Brazilian things. By that, I book. 18 □ DOWN BEAT the creative person faces a difficult but ultimately re¬ warding task, one difficult to repeat with frequency and con¬ sistency, for the artist at top form must call on the maximum potential of mind and heart. Occasionally, the perfect balance between intellect and emotion is achieved, but too often one rules the other. The mind dominates when the artist cuts off his deeper feelings, the emotions when the artist cannot disci¬ pline himself or when his technique is too limited. Pianist Denny Zeitlin is among those performers who, through training and growth, can strike a consistent balance between mind and emotion. His music increasingly is pro¬ jecting timelessness, that point where opposites join, where past meets future. This is what Zeitlin calls “the Now.” It is the point, he says, when “I’m so immersed in the flow of the music that my conscious computer is pretty well disengaged, and the music is coming through a kind of in¬ tuitive filter that supplies whatever intellectual framework I have in my musical history and philosophy. Music then comes through me without my conscious manipulation of it.” Yet being in “the Now” is far from a total negation of the conscious self. In fact, it helps a musician to reach this point if he has a large conscious reservoir to tap. This is why Zeitlin expands his musical vocabulary. “At any given point in the creative process,” he com¬ mented, “I might feel the need to express myself in various ways: with modal pieces, odd rhythmic patterns, programa- tic music, standards, completely free things, and so on.” His accompanists are also important in the shaping of emotion. Zeitlin has much praise for bassist Joe Halpin and drummer Oliver Johnson, who have been with him for nearly a year. The Total “Joe is an incredible bassist,” Zeitlin said. “He has great facility and creative power and is very sensitive to what’s going on. Oliver has tremendous natural ability. He gives the Experience Of music the unabashed fire I really want. “They’re both open to exploration. We are getting into some electronic music, besides extending the sounds which Denny Zeitlin can be coaxed out of our own instruments.” Zeitlin often plucks the piano strings or plays them with small wooden mallets. Johnson frequently rubs the micro¬ by Steve Toomajian phone against the wire strings of a zither or his drum head or a transistor radio. Halpin comes up with some unusual bowed effects on the bass. All three men play various other percussion and auxiliary instruments. The trio employs these odd sounds mostly in free improvi¬ sation. These pieces develop differently from the manner of free numbers recorded by other groups in the recent past. Zeitlin’s impromptu productions flow from mood to mood, rather than blasting away at one feeling. Though the pre¬ sentations are unplanned, they satisfy the mind as well as the heart. This is a quality of all Zeitlin’s music, no matter what form it has. “If I’m really going to be centered in the music, my whole being has to be there,” he said. “That includes pot only the emotional part of my self but the intellectual part.” It is a mark of growth that Zeitlin can put together such a fascinating network of sounds from no premeditated base. “To repeat things you’ve done before is even more seduc¬ tive here than in other styles, because it’s harder to get inside the music,” he said. “You really have to play something new, and it’s not easy.” The free pieces have helped the trio in all aspects of its music. Numerous melodic fragments are created along with intriguing harmonic blends. Rhythmically, each free number is a separate and exhilarating adventure. The three musicians are all moving, sometimes in different directions, sometimes at different speeds, coming together, or suddenly pulling apart. MOST OFTEN there is a flow to the music, but occasionally it feels disjointed. Space—silent space—becomes essential to the fabric of the performance, and Zeitlin gives credit to the the new group, mainly because of Johnson’s impulsiveness, modem classical composers for increasing his appreciation of possesses a raw power that seems able to explode at almost silence. any time. But such forceful displays are integrated into the Spontaneous, meterless improvisation also has extended movement of the music, and the trio is always together, the group's intuitive sense of time when playing within a never letting things get beyond control. steady beat, leading more depth to the rhythmic embroidery. Zeitlin tries to become just as involved with his audience. The trio is also adept at shifting the meter, the key, and His numerous college concerts often include seminars, which the mood, separately or all at once. Zeitlin himself says his he conducts. own melodies are increasingly being built within complicated “The students think of provocative questions on music, conceptions of time. but the discussions always seem to end up reflecting the The group’s new album, Zeitgeist (Columbia), contains a problems that happen when people get together and try to complex piece called Mirage. It has two measures of 3/4 communicate,” he pointed out. “The discussions have further time, two measures of five, a measure of two, a measure of stimulated my thinking about psychotherapy. 13, two of four, three of three, and one of 13. “Possibly the only real disadvantage of the dual career is “It really forced us out of our comfortable bag when im¬ that I have less access to touring and I don’t play many club provising,” Zeitlin said. “We had to get a whole new way of dates. So I might be more well known, but I wouldn’t be as moving through that maze. happy as a full-time musician. “In my mind I hear melodies within odd time signatures. “My musical development would not be any more rapid Of course, the trio has worked a long time on these strange if I were a musician alone, for I would be unfulfilled in this rhythms. We’re at the point where we can get the over-all other area, psychiatry. Both are necessary for me.” flow of 11/4, or seven, or 13, or whatever.” Zeitlin always has been interested in music and science. The trio’s new album will mark the recording debut of As a child in Chicago he collected butterflies, was fascinated Halpin and Johnson. On Zeitlin’s first album as a leader, he by pictures and models of prehistoric animals, had a love was joined by bassist Cecil McBee and drummer Frederic and curiosity for astronomy, and in high school liked chem¬ Waits. Then, after graduation from Johns Hopkins Medical istry and everything else having to do with science and medicine. He began his formal music training at 6. This had been preceded by endless hours of “playing” the piano on his own since the age of 2. While he was practicing the classical repertoire, his parents also exposed him to jazz, which Zeitlin calls a “made-to-order musical area for me.” It focused on composition and improvisation, always his main interests. He became even more engrossed in jazz during his early high school years. His aware parents allowed him to go to Chicago’s south-side jazz clubs and stay out until the early- morning hours. Even his music teacher, Marian Anderson, “would sense how turned on I was by modern jazz and modern classical music,” Zeitlin recalled. “She let me play things technically way over my head, but because I loved it so much, I learned to play it.” Zeitlin believes that this sort of training, rather than an endless repetition of scales and arpeggios, increased his tech¬ nical skill. School, Zeitlin moved to San Francisco in July, 1964. “I got just as big a kick hearing someone else play Ravel Almost immediately he began looking for a bassist, found as when I played Ravel, so I began to incorporate what was Charlie Haden, and added drummer Jerry Granelli a couple particularly meaningful to me in Ravel’s philosophy to my of months later. After a month of playing together, the trio own music,” he said. “It became something more clearly recorded the album Carnival and then played Mondays at mine.” the Trident in Sausalito for 2Vi years. Shining Hour, Zeit¬ Thus Zeitlin was able to go beyond the mechanics and put lin’s third album as a leader, was recorded with Haden and his knowledge to work within his personal emotional frame¬ Granelli at that club. work, something he has been doing since. He has never At the same time, Zeitlin served his internship at San stopped growing technically and emotionally, and is equally Francisco General Hospital. He is now a resident psychiatrist attracted by the Beatles and John Cage. Zeitlin’s distinctive at Langley Porter Neuropsychiatric Institute, also in San approach, no doubt, derives from his diversified listening Francisco. habits as well as from his formal studies with Alexander Though his dual vocation permits him little sleep, his en¬ Tcherepnin, George Russell, and other teachers. thusiasm for music and medicine has enriched each career. Zeitlin has blended this varied universe of music into a “It is not easy to determine in any concrete way how the personal amalgam that probably will not make him an inter¬ cross-pollination of my music and psychiatry has occurred,” national idol. He knows that popularity on a mass scale he said. “But it would be naive for me to think my training usually requires a static, readily identifiable sound, some¬ in psychiatry doesn’t at some intuitive level make me more thing he cannot stand. receptive to what I experience with other people, including He would rather not communicate with people on a super¬ my music colleagues. ficial level, even if this means limiting the size of his audi¬ “Right now, this is the right group for me. Jerry, Charlie ence. and I shared a tremendously intense and meaningful two “A real sharing,” Zeitlin said, “involves a commitment on years together. Our personal growth eventually brought us to the part of the audience to transcend its passivity—to be¬ a place where we felt a need to seek new directions sepa¬ come truly involved. At moments like this, jazz becomes a rately.” total experience.” KE3 20 □ DOWN BEAT there are striking analogies between jazz and sports. A jazz player, at his best, must be in condition to meet the demands of a music that draws much from mental and physical reservoirs, and like the athlete who constantly faces situations that re¬ quire split-second decision and response, the improvising musician must have the ability to react with speed and certainty. The happy anomaly between these two fields is that a jazz man’s prime can ex¬ tend decades beyond an athlete’s; indeed, jazz seems to have certain youth-perpetu¬ ating properties, and aging is relative, de¬ termined not so much by years as by spirit and drive. The benign effects of nightly transfusions of invigorating sound are evi¬ dent in the many examples of older players who continue to perform with essentially their full power. Of course, we have en- duringly great figures such as Count Basie, Duke Ellington, Woody Herman, and Stan Kenton, but more dramatic examples are provided by the men who retain then- strength and vitality as soloists—among others, the dazzling Dizzy Gillespie and the afnazing Buddy Rich at 50, and George Shearing, who turned 48 in August and today plays with more spark and drive than he has in many years. A large part of Shearing’s new-born en¬ thusiasm is generated by the fine players he has with him now, a quintet measuring up to any he’s had. The group includes Joe Pass, guitar; Charlie Shoemake, vibraharp; Bob Whitlock, bass; and Colin Bailey, drums. Through the years, Shearing has done many things that are not the ideal of what he wants to do, but his integrity has held easy life. In the early ’60s, he made token we knew something was wrong.” Quintet firm. Many of his records are frankly appearances with groups that were, at best, members urged him to see a doctor. But commercial, but his has been an artful distant echoes of what he had in the days the leader scoffed: “There’s nothing wrong. compromise. Withal, there is a line he of A1 McKibbon, Jean Thielemans, and I had a checkup before we came on the never has dropped below—a standard. Cal Tjader. road. I’m just a little tired.” “You know,” he remarked with a smile In the last few years the resurgence has It was his blood that was a little tired; and a tilt of his head, “I love to play tinkly come. For one so deeply committed to three quarts were trying to do the job of six. piano with a big string section behind me. music, the turbulent state of things de¬ When at last they got him to a hospital— It’s pleasant ... it certainly doesn’t go mands more than passive concern. Shear¬ where he should have been days before— against the grain. Then, when we’re on the ing’s posture these days is strong, musical¬ exploratory surgery revealed small duo¬ road, I get a chance to extend myself, and ly and physically. He represents an island denal lesions, a recurrence of the ulcers in certain clubs I can take the lid off the of sanity between the frenzied outposts of that have plagued him for the last 15 group.” jazz and the outre parade of sheep dogs years. The doctors were puzzled by the When he does take the lid off, unfurls unleashed by the Beatles. Shearing holds great loss of blood and also by the phe¬ the more challenging side of his library the key position of a still youthful elder nomenon of a man in this condition work¬ and turns his players loose, the results statesman conversant with music at all ing until a few hours before his entry into come as more than a mild surprise to those levels. With his quintet, he voices the uni¬ the hospital. It was almost a brush with who have written off the Shearing quintet versal of a language that in some ways death, but a few months later Shearing as no more than purveyors of bland popu¬ has ceased to be universal. had recovered and was back in action with lar music. When speaking of age. Buddy Rich was his quintet, and back in action as well as a The Shearing story has been well de¬ mentioned as comparable to Shearing, listener and observer. tailed, from his position as Britain’s top which might not seem quite valid, since IN THE summer of ’66 he heard the Don jazz pianist to his postwar decision to make Rich is a fireball and the Shearing flame Ellis Band at Bonesville in Los Angeles in his home in the United States, his initial burns cooler. But there is a particular link. a stirring display of unusual time signa- struggles, and his rise to fame with his Rich ignores his cardiac history and cuts quintet. From 1949 to ’52, during which a path that his young band must give its all “It was a tremendous experience—really years he won the Down Beat Readers’ Poll to follow; Shearing has faced a serious inspiring—and I wound up writing a thing as best combo, Shearing sat atop the jazz health problem that on one occasion world and at the same time commanded a brought him close to death, and yet he in 13/4 which I called Baker’s Dozen," large pop following. goes on with undiminished drive. Shearing said. “The quintet handled it with Then, as the ’50s unfolded, there was a Some indication of the force that has no trouble—I mean the ensemble p^rts shifting of the image, and Shearing be¬ driven Shearing in the last few years was came off easily—But the first few times we came more the property of the general dramatically shown over Christmas, 1965, played it, some of the guys felt constricted public. It appeared that he was no longer in Salt Lake City. He was looking pale on their solos and couldn’t swing the way important to jazz, nor jazz important to and drawn, and there was also anemia in they wanted to. Then after a few more him. his playing. In his own words: “Techni¬ times, they got into it, and now they feel Having achieved financial security, cally, I was falling all over the keyboard.” comfortable with it. Once the pattern is Shearing moved from New York to Holly¬ In the words of one of his musicians: “He established in your mind, you can swing wood in 1961, apparently to settle into the was playing like a high school kid, and freely in almost any time construction, ex- October 19 □ 21 the one he calls And Then I Wrote. In re¬ spect to unusual time structures, Shearing’s Changing with the Times, with its use of 5/4 in the first two measures, put a chink in the meter-barrier later exploded by Dave Brubeck and Paul Desmond—and Shearing did this in ’49, almost 10 years before the appearance of Take Five. Shearing’s fondness for puns is reflected in many of his titles, things such as Get Off My Bach, or the tune he wrote as a feature piece for the drummer with his original quintet, the late Denzil Best, Nothing but D. Best. For his wife Trixie, he did How’s Trix? He has talked, in jest, of writing one for his bass player, Whit¬ lock, and titling it Born out of Whitlock. Another cornerstone of the Shearing personality is an openness and bigness, marked by his capacity to appreciate and praise the work of other musicians. In an Omaha, Neb., hotel room he stood trans¬ fixed, arms extended and fingers moving in empathy as a Martial Solal record played: Suite Pour Une Frise from Newport ’63. “Ahh, that trill,” Shearing breathed in pleasure. “Beautiful . . . he’s a fantastic player.” Shearing’s immersion in the mainstream of jazz is represented by a library that brims with the works of other musicians, most often other pianists, including Thel- onious Monk, Bud Powell, Horace Silver, Randy Weston, Ray Bryant, and Teddy Wilson. There are several Benny Golson numbers in the book, including 1 Remem¬ ber Clifford, and Clifford Brown’s own Joy Spring. The nest of manuscripts is well feathered with Charlie Parker composi¬ tions, among them Donna Lee, Confirma¬ tion, and Scrapple from the Apple. The Shearing library, some 400 pieces in all, is also liberally stocked with stan¬ dards. A primary reason for the range of Shearing’s success has been his ability to unearth forgotten songs and breathe new life into them, from the million-selling September in the Rain of ’49 to dozens of others he has resurrected since—East of the Sun, Roses of Picardy, and Little White Lies, to name a few. This passport to suc¬ cess carried with it the stamp of rejection from many fans and critics who found much of the Shearing fare repetitious. The leader’s reply is: “We’ll do a Dancing on the Ceiling or an Autumn Leaves, get the audience on our side, then spring a Benny Golson number on them.” Shearing has memorized more than 300 pieces in the library, but when the quintet takes to the road, the book is pared to about 250. In this respect, the demands are now more stringent than they have cepting the really long, complex things.” Christmas song. Later I got together with been. At one time the entire Shearing li¬ Baker's Dozen was essentially a spon¬ Johnny Mercer, who wrote some lyrics, brary was carried in the heads of the quin¬ taneous creation, as is nearly everything and it became Too Good to Be True. But tet and imparted by word and example to Shearing composes. it’s funny—it’s almost like there’s a little any new members. Through the years, the “I don’t write in the sense that I sit at man in my head who writes these things library has become so voluminous that the piano and work something out,” he for me. Many themes are presented to me everything now has been notated. There¬ said. “When I hear something in my mind intact. I’m glad that little man is there, fore, Shearing today needs not only swing¬ in the nature of a composition, that’s when because I’m really pretty lazy when it ers, but schooled, sight-reading swingers. it’s written. One piece came to me while comes to this sort of thing.” “When I auditioned Colin Bailey for the I was in the hospital in Salt Lake. Ironical¬ The list of originals produced by Shear¬ band,” Shearing recalled, “I had already ly enough, the only words that came to ing’s mental lethargy is crowned by one of heard he was a fine drummer, but I mind were Merry Christmas. ... I say the most-recorded jazz pieces of all time, wanted to establish this to my own satis¬ ironically because my operation was on Lullaby of Birdland, and from there the faction. So I hit him with a chart in 9/4 Dec. 27. So it didn’t materialize as a quantity of his output is best indicatid by /Continued on page 40 22 □ DOWN BEAT “when i first came to New York, it was Sahib Shihab, Porter Kilbert, Jerome has to buy me is a good piano, a fine very frustrating,” pianist Patti Bown said. Richardson, and Budd Johnson, reeds. stereo, a tape recorder, some books, and “They wouldn’t let me work any of the Buddy Catlett, bass; Les Spann, guitar; a place to live where I can play when I jazz clubs. I could sit in at the Five Spot, and Joe Harris, drums, completed the need to, 24 hours a day. Because if I can’t but that’s all. I had to go all the way to rhythm section with Patti; and the trum¬ sit down when I’m composing and catch the Bronx to practice. There was a chick pets were Floyd Standifer, Lenny Johnson, it on tape, later it may be gone. Tomor¬ up there who played cocktail drums and and Clark Terry. row’s another day. Sometimes I remember, had a beat-up piano. But she was nice, and “Patti is a gas,” stated Clark Terry sometimes I don’t.” liked to hear me play.” categorically. “None of the musicians re¬ She recently completed a number that One evening she introduced Patti to garded her as a chick. Like guys usually Duke Ellington heard and requested when tenor saxophonist Ike Quebec, and the sum up a girl with she plays fine for a she was rehearsing with his band. Patti’s three sat up all night talking about what a chick. Right? Not so Patti. It wasn’t like close friend, trombonist-arranger Melba painful thing it was just to 1-i-v-e. that with Patti. And her time is something Liston, had written some charts for El¬ “When I cut out that morning and made else. She’s got a beat like a man.” lington’s vocalist, Tony Watkins. Being my way home,” related Patti, “it was It was a great band that Quincy had, essentially a gospel singer, Tony looked to beautiful. Real early, and the markets Patti agreed, and she feels that she owes Patti for assistance with delivery. The one were open, decked out with fruit and Quincy a great deal. “But I wouldn’t want recommending the other, Melba and Patti greens. All of a sudden it seemed very the road forever,” she said. “The future work with a number of vocal groups and

DOWN PATTI

Profile

By Helen Dance

clear to me. It’s like everyone is on a holds too much else.” Growth is one factor singers. “I was seldom happier,” Patti train, I thought.” she knows lies ahead. “I live life by ear, volunteered, “than during the 2& years I She smiled. “You dig? Where you get and I’m used to that feeling which says I was musical director for Dinah Washing¬ off you don’t know. You may think you have to develop. It’s natural, I guess. ton. She was great and I learned a lot do. Really, the only thing you know is There’s always something building up in¬ from her. Then I was with Sarah Vaughan how it looks to you. And how you see it, side you, and what you have been learning a short while.” that’s the way you got to play it. Maybe has to come out. Even from the worst Patti responded to a hurry-up call from you feel you’re in control and have it all kind of musical situation, there’s some¬ Miss Vaughan when her regular pianist spelled out. But the inevitable is there thing you can learn.” She smiled. “From had left to join Nancy Wilson. Within 24 somewhere—waiting. And in the meantime the most horrible piano, I learned to ap¬ hours, during which time they merely . . . G'Won Train.” preciate a good one.” talked over the library, Patti went on with This is a piece Patti wrote a while Most pianists concur that bad pianos Sarah’s group. Her stay was brief, but she back. It has been recorded a number of are daily hazards, but this is a challenge worked on their book and arranged a times, by Quincy Jones and others. Patti that Patti doesn’t mind. Neither is she medley of Vaughan hits that is still being was in Europe with that Quincy Jones afraid to think creatively, and at this point used. Band which, featured in Harold Arlen’s she philosophizes, “The most successful blues opera Free and Easy at the Paris person could be the well-organized failure.” talking of the importance of music in Alhambra, garnered a reputation that en¬ Pursuing this, she went on, “A big com¬ her life, Patti recalled something Dame dures to this day. The star musicians mercial success could rob you of the time Myra Hess once said. “She called her Quincy had gathered around him were you needed to live fully. . . . Sure, I feel harpsichord her husband, and that's how Melba Liston, Jimmy Cleveland, Aake I have to make money,” she conceded. “I I feel about my piano. I play because I Persson, and Quentin Jackson, trombones; have to meet personal obligations like want to, but even more because I have to. Julius Watkins, French horn; Phil Woods, everyone else. But for the rest, what money I have to sit down at the keyboard and October 19 □ 23 talk over what’s going on. I’m not sup¬ thing valid. The situation requires more She decided that college didn’t give her posed to stand up on a soap-box. Instead control, more inspiration, the lot. And enough musically, and that she needed to I have to play what I want to say. And challenge I like.” attend the Conservatory as well. Her teach¬ for me there is no other medium by which Background played an important role er there was brilliant, “. . . worth his I can communicate certain things. Any¬ in Patti’s life. With admiration Patti de¬ weight in gold,” she remembered, but his way, words get twisted.” She looked up scribed her father as “87 years old and lessons weren’t covered by a scholarship mischievously. “Take the guy writing a still swinging.” He worked very hard, she allowance. By a strange coincidence, before song called Our Day Will Come. He’s said appreciatively, and made a great he could arrange a grant for her, he, too, telling the kids that they can make things many sacrifices to see that his daughters died of cancer.' beautiful after they’ve cleaned up the received a good education and the best Patti had to start earning. In addition to world. Next, take two cats walking up to musical training available. “And I came attending lectures from 8 a.m. until noon a counter and mad about something. ‘Two from an ‘apple-pie’ mother,” she said. and eating lunch on the bus en route to coffees and, man, make it sharp,’ they “Though she’d had a real hard time of it, the Conservatory, she studied the keyboard snap. ‘Because, baby, our day will come!’ ” she’d made the grade and she knew every¬ until 4 p.m. and then set out for the Post She laughed. “You dig?” thing she ought to teach us. She was Office. Patti likes to think ahead. “I look for¬ orphaned at 12, and after she’d got her “At first I couldn’t arrange for part-time ward to more study,” she explained. “With little brother placed in a home, she took hours,” she recalled, “and I was sometimes me it’s a life-long habit. You can always a job living in and made enough money to up until 2. Eventually it worked out at six learn something new. I want to write, and put herself through three years of college hours a night. It was rough, but I didn’t I want part-time performance. I also want at Fisk. She had a half-dozen talents: she mind. It was a challenge, again.” to be a human being. By that I mean I composed and painted, she read poetry and Patti looks on recording sessions today want time to get into books, to be with liked to write. I remember her saying my as a further challenge. “You can’t simply some of the really fine people in the world grandmother had travelled barefoot across make them any old way,” she insisted. and, well, just to sit, if I want to. You a frozen river to escape a slave-master. I “Everything has to be right. I don’t want need leisure to keep some kind of connec¬ guess character, for her, was a legitimate to make albums under my own name un¬ tion between what is, what you would like inheritance.” less I’ve been working with a rhythm sec¬ it to be, and what went before.” When Patti’s mother died of cancer in tion a long while. Unless you’re being What went before, in Patti’s early life, her early 60s, the family suffered a real booked on the road, that makes it pretty accounts to a great extent for the reputa¬ blow. “But she was a devout Catholic,” hard. If you want to stay in New York, tion she enjoys today. “I started to play Patti explained, “and had taught us to face it’s difficult to arrange for that much con¬ when I was 3,” she said. “There were four up to things. My sister had died of cancer tinuity. I don’t want to go into a studio of us, three sisters and myself, and we all ten years earlier. In her first year of col¬ and find out at the last minute a sideman played by ear.” Etude magazine thought lege, studying to be a doctor, she’d devel¬ has been switched. Because if the rhythm this sufficiently unusual to want to devote oped cancer of the glands. My third sister is not right, nothing is happening at all.” space to them, particularly since all four is a fine lab technician, and, like Mama, But despite herself, Patti is in constant were endowed with perfect pitch. Herself an active Catholic. Last year in Seattle she demand in the studios, for pop as well as an artist, Patti’s mother insisted that piano was named Catholic Mother of the Year.” jazz. “I have a feeling for kids,” she ex¬ lessons for her daughters came before Patti’s memories of her own involve¬ plained. “I identify with them. It helps everything, and a musical career awaited ment with religion brought a smile to her them a lot. But you can’t lie on a session. not only Patti, but also Edith, her eldest face. The family lived close to a convent What you play goes down for all time. that housed an enclosed order of Carmelite Besides being the greatest, recording can Edith was classically inclined and ex¬ nuns. It was Patti’s job, during high school, also be the most condemning factor that ceptionally talented. With the backing of to go by the convent, lay out vestments ever was. You need integrity, humility, several good friends in Patti’s home town, for Benediction and, when she left, lock fortitude, and lots of love and faith in Seattle, Edith went abroad to study with the door. what you want to say.” Robert Casadesus. Following her return, “Those nuns were wonderful,” she said, She added: “If an artist is going to Sol Hurok booked her into Town Hall “and they loved my family. Mama’s and progress over the years, he has to expand. for a concert sponsored by Clare Booth my sister’s stories are on record in the He must develop as a person, to give Luce, but later she encountered the same diocese, because the Carmelites associated value to what he says.” obstacles that hampered artists like Marian them with remarkable cures. My Mother, Duke Ellington concurred. “Patti knows,” Anderson and Leontyne Price. They made besides, helped found a center a block he said. “She’s always moving ahead. She the way to the top so difficult that after long, near where we live.” has that indescribable ingredient which her marriage to Gerry Valentine, an ar¬ many people try to sum up with, phrases ranger for Billy Eckstine, Art Blakey, when she was growing up, nothing kept like, ‘she swings’ or ‘has soul’. But what Miles Davis, and others, she abandoned Patti away from music. Somehow she at¬ she’s got is a unique potion. It’s there, her career. tended all kinds of concerts and recitals. and it’s that, and that’s it, baby.” Her sister’s experience naturally preju¬ “I’d manage to hear Rubinstein, for in¬ On Patti Bown Plays Big Piano, which diced Patti. “I was always playing jazz, stance,” she recalled. “And contrive to she made for Columbia several years ago anyway,” she commented. “When we were meet him, too. I told him personally what with Joe Benjamin on bass and Ed Shaugh- small, though, the four of us played every¬ I felt about what he played. When I was nessy on drums, four of her own numbers thing: Bach, Beethoven, and Brahms. And five years old, I made Katherine Dunham were included among the selections: Waltz if Mama let us, one of us would play jazz promise she would take me to New York.” De Funk, Head Shakin’, Nothin’ But the while the others danced. Or we’d sing When she finished high school she had Truth, and G’Won Train. Gregorian motifs. From the time we were not turned 17, but she had won a number Memories of this session evoked further children we knew Marian Anderson. She of awards, coming first in a concerto con¬ revelations concerning that imaginary train. used to visit a lady we called Aunt Sarah test which involved performing with the “It carries you a step beyond any you’ve Brown whose piano was ’way off key. One Seattle Symphony. ever made before,” she said. “There’s time Mama wanted us to perform for both, “Some 30 scholarships were open to always a thought you’ve not thought yet, so we were decked out and presented, all me then,” she said, adding wryly, “but no an emotion not yet experienced. ready to go. Being the youngest, I had to money in it, only tuition. In the end, I “Guess my imagination works overtime,” play first. I hit those keys, and wham!— chose Seattle University where I was to she conceded, laughing. “But can you see I just couldn’t play. I couldn’t even explain. play in a double quartet, but since you how we’re like instruments? Like voices, That out-of-tune piano had washed out needed clothes to wear to functions, so¬ taking over from one another? Coming the concert before it got started.” cially I felt left out. Athletes are lucky together at times, discordant at others, Today Patti thinks you can learn a lot because they get the right kind of a deal. climaxing, dispersing, and climaxing again? in the business from upsets like that. “If For sweeping the gymnasium they get $20 One long succession—isn’t that life? Me, things are a musical drag, it is twenty or $30 a week. A musician or an artist I hope there’s a long stretch ahead. . . . times more challenging to try to say some- fends for himself.” “It’s, like, g’won train!’’ 24 □ DOWN BEAT “You get a lot more out of this Hohner Echolette Sound System than yoM put into it.”

Al Hirt says: "The guys in my band make sure they use the instruments that let them put down the best sound. Like these Hohner Sonor Drums."

"Everytime we play a live date, the Al Hirt reputation gets put Echo Unit that lets us put down multiple echos with trick on the line. So you can bet I'll go with the sound system that effects. Heck, the LE5 speaker column even has eight speakers. lets us put down the best sound we can: Hohner's Echolette "But I guess when you come right down to it, what I like Sound System. best is the terrific high fidelity you get with the Echolette. "It makes the six of us sound like twelve. And it does a few Because it's got a much wider, fully controllable frequency other things that no other sound system in the world can do. range and unusually low feedback. For instance, we can get recording studio sound, no matter "But enough of this engineer's talk.The darn thing helps us where we play. Ballparks, auditoriums, you name it. sound better, that's all." "The Echolette also lets us adjust volume, tone, echo and [] ^ee your local dealer or write M. Hohner for a free reverberation, simultaneously or separately on six different I I catalog and name of your nearest dealer. channel inputs. And it has a Tape Loop Reverberation and CAUGHT IN THE ACT entering wedgethatwasbreath-stopping. massive phrases,andthenCook came Adams positivelyexplodedwithchunky, voluted butever-stimulatingandingenious testines). 26 □ DOWN BEAT sourcefulness. Heturned everyonearound Dorham followedwithasolo inMiles riding inrightontopofhim withan soloist caughtfirefromhisteammates. theme, wasidealforthisgroup.Each his wasanunalloyeddelighttotheear ing, andmusical. batics. Likeeverythingthesemusiciansdid Harris isaman ofseeminglyinfinitere¬ speaking, butback intotheunison—but there wasnowhere togo,dramaturgically haunting, deeplyaffectingepigrams. Davis’ beststyle,shiningwith sparse, solos; light,witty,superblyconstructed, verse mycustomaryreactiontolongdrum that night,itwasalwaysgraceful,swing¬ tended basssolosintointerminableacro¬ strenuousness thatsofrequentlyturnsex¬ Chambers, withnoneoftheelephantine swift andswingingsolo,arco,byPaul gained newpowerandstature. for sometime,andtomyearhehas mental overelaborationandthenaively jazz ballad,withitstendencytosenti¬ impeccable taste.Ihadn’theardDorham not oftencharmedbytheinstitutionof ham hornsolo,wasalovelyrespite;Iam composed almostwhollyofamutedDor- Hayes, oneoftheswingingestdrummers (not tomentionthehands,feet,andin¬ “profound;’’ buteverynoteofthiswasin All toosoonitwasunisonagain,andout. around, wasn’thurtingthebeatanyeither. myself holdingmybreath’tilitwasover. what Harriswasdoingatthekeyboardin —a drivingpowerhousebeatthatsweptin an evenmoreheadlongcontext;Icaught from belowlikeagroundswell,framing aware ofwhatChamberswasputtingdown a swallow.Thenonesuddenlybecame with aringing,joyoussolothatsoaredlike gem-hard take-your-turnsolosbythehorns, tory unisonopeningstatement,thenthe then therhythmalone. rangements here—merelytheclassicbop tradition atitsforthrightbest:theobliga¬ of it.Nopretensionsoroverarrangedar¬ there tohearwhatHarrisandfriendsmade City, andIonlywishBudcouldhavebeen in it. call ofthenameshadathrobpower sweet smellofartisticmastery,thecer¬ with IraGitler’sunassuming,knowledge¬ Everything aboutthisconcert,beginning tainty ofaswingingsession;themereroll able introductionofthemusicians,had up tothepromiseimplicitinlineup. Adams, baritonesaxophone;Harris^piano;PaulCham¬ bers, bass;LouisHayes,drums. Personnel:^Kenny Dorham.trumpet:CharlesMcPherson, Webb CityAll-Stars Museum ofModernArt,NewYorkCity Barry Harrisandthe Luminescence featuredanunexpectedly After allthat,onewouldhave thought Harris’ original,Nicaragua,withitsin¬ Hayes, bytheway,alsomademere¬ The leisurely,contemplativeMyIdeal, At first,allonecouldhearwasHarris, The firstpiecewasBudPowell’sWebb Obviously a“dream”band—anditlived numbers noteasily forgettable—wasan ho-hum versionsofundistinguishedtunes abbreviated, typicaltreatment ofAlfie. ington, wherehe hasfamilyties. several yearsstickingratherclose toWash¬ others, SarahVaughanandthe legendary the pianist,whohasworkedwith, among playing asteadygig. formed patronsandall—playingmostly where onewouldexpecttofindapianist Washington, D.C. Billy EckstineBand,hasspent thelast of Malachi’sstature. mined gracelessness)ishardlyaplace period chandeliers,andapianoofdeter¬ club (completewithpatio,Grecianbusts, Personnel: ^Malachi,piano;FredWilliams,bass: John Malachi ning. crossbow—a fittingendtoaperfecteve¬ launched thenexthornlikeaboltfrom Ed Murph’sSupperClub a session:itshouldhavegoneonallnight. answering salvofromHayesthatinvariably of “fours,”eachhornalternatingwithan number onwhichtheygotintoastretch (and thepatronsnone wiser) but every variationlikethejeweledbasicde- which coruscatedandwoveitselfthrough every soloonthemelodyofeachtune, sistency withwhichthewholegroup,in¬ feature ofthisentiresessionwasthecon¬ examination ofthemelodywehadjust dividually, builtvirtuallyeverysegmentof heard inunison.Bytheway,aninteresting off witharelaxed,superblyunderstated pounds. roots ofthearthesoauthoritativelyex¬ preciative (andappreciated)tributetothe the contrary,alovingandprofoundlyap¬ solo, innowaytongue-in-cheekbut,on with afunky,simplistic,deliberatelyarchaic one achancetocookagain,asCookled I caughtthree sets. First—amongthose Except forafewappearancesin Canada, Yet, therehewas—inattentive,unin¬ This bourgeois-type,smartlyappointed Only onecriticismcanbemadeofsuch The finalsong,EvenSteven,gaveevery¬ No Pretensions HARRIS I thinkthiswasthe —Ralph Berton •unobtrusively withaballad.Here’sThat Don’t WorryAbout Me.Itwasahighlight strongly onbothnumbers.He pulledon guena, lessLatin-spicedbut with even of theevening. the velvetgloveforhisfeatured spoton more brass.TrombonistShearer performed played on.Thebrassbattlementsreared in nononchalantfashion. high, butleadtrumpeterSmith scaled them ments going,whilethehypnotictrombones sells; atonepoint,thereedandtrumpet sections hadavarietyofpercussioninstru¬ by Reed’salto,Daversa’strumpet,and raised. IntermissionRiffwasfreshenedup Story cameoffsurprisinglywell. Rowe’s tenor.ThePeanutVendorstill rock treatmentofRoland’sTheBlues Holman, GeneRoland,andJohnnyRich¬ needed noprompting.MaterialbyBill marks, stayedclosetothepiano.Theband ards receivedexuberantairings.Thequasi¬ invention neverdried. with thesamesuavityonuptempos.His tumbled out.Reedisayouthfulmaster waterfall ofnotes,allwellchanneled, Rainy Day,moldedbyBarton;I’mGlad second number,gaveasuperboration.A trumpet, theballadsweretenderlyhandled. full ensemble,withoccasionalobbligato sonorities. Featuringthesectionsor and SomewherewereafacetofKenton as listenabletheaccustomedthunderous dance onopeningnight,whichalsoin¬ in action.Worshiperswerethereabun¬ ings ofStanandphotostheorchestra the Nugget’swallsareadornedwithetch¬ piano; JohnMosher,bass;DeeBarton,drums. There IsYou,AlltheThingsYouAre, augurated theclub’snewhome. Sometimes knownastheKentonShrine, Bob Dahl,BillFritz,JohnMitchell,reeds;Kenton, (doubling tuba),trombones;RayReed,AllanRowe, Roberts, TomWhittaker,JimAmlotte,GrahamEllis Mike Price,BobScillato,trumpets;DickShearer,Dave Personnel: DaltonSmith,JayDaversa,CarlLeach, before moreappreciativeaudiences. and Malachimayfindhimselfperforming ducive totheband’sexcellentperformance. Gold NuggetClub,OaklandCalif. Stan Kenton line. Daahoudwasabeautifulsurprise, good percussion,andanimaginativebass beautiful ballad,hadverygoodMalachi, sprightly andenergetic,dancingitswayin Then therewasWalkin’,strutting,rather so, thenewsundoubtedlywillgetaround, worthy ofthepianistmightbefound.If wall. Perhaps,intheprocess,apiano to enlargetheclubbyknockingoutone well integrated. tive interplaywithMalachi.Thetriois this tunesoundOscarPetersonish. since almostallotherpianoversionsof and out.CrazyHeCallsMe,aneglected, Bassist Mosher anddrummerBarton Even Vendorwasoutvolumed by Mala- Only afewoftheoldtotemswere Kenton, asidefromhisintroductoryre¬ Altoist Reed,onMyShip,theevening’s Each ofthefoursetsplayedopened Perhaps thesurroundingswerecon¬ Rumor hasitthatthemanagementplans Snowden andWilliamsproducedsensi¬ /Continued on —Ben S.Page Anatomy ofa Sonor Drum.

That Sonor Drum is probably Europe's most famous. Sonor Drums are distributed in the United States exclusively by Hohner. Which is good news for you if you still pay for your own drums.

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And there are Selmer Varitones to add body, depth, and a rainbow of colors to the distinctive sound of Selmer Trumpets, Flutes, and Clarinets, too! Listen to Sonny Stitt, Clark Terry, Moe Koffman and Jerry Fuller. Special Varitone sound systems for Selmer Saxophones, Trumpets, Flutes, and Clarinets are made together to play together. That's why these outstanding artists (to name but a few) will tell you they've never played anything like the Selmer Varitone. Ask them! See your Selmer dealer or write direct— now I— for more information on the Selmer Selmer Varitone. It could make you the busiest musician in town I Box 310, Elkhart, Indiana 46514 Record Rwiftwt_ Records ore reviewed by Don DeMicheol, Gilbert M. Erskine, Kenny Dor ham, Barbara Gardner, Ira Gitler, Bill Mathieu, Marian McParlland, Dan Morgenstern, Bill Quinn, William Russo, Harvey Siders, Carol Sloane, Edward A. Spring, Pete Welding, and Michael Zwerin. Reviews are signed by the writers. Ratings are: * * * ★ ★ excellent, ★ ★ ★ ★ very good, ★ * ★ good, ★ ★ fair, ★ poor. When two catalog numbers are listed, the first is mono, and the second is stereo.

Ray Charles "m— -rra».*» and are also shaped by the normal playing punctuations of Kuhn, Carter, and Hunt INVITES YOU TO LISTEN—ABC 595: She's styles of the executants. And they swing. culminating in a free-swinging melee as Funny That Way; How Deep is the Ocean; You Made Me Lore You; Yesterday; I’ll Be Seeing In fact, the approach to which Jax, Di¬ the other horns enter, forcing the climax. You; Here We Go Again; All tor You; Love alogue, and Leisure hew might be described Kuhn then develops a jabbing, shattering Walked In; Gee, Baby Ain’t I Good to You; as contemporary small orchestral—or rath¬ mood that subsides gradually, builds again, ? Personnel• Charles vocals iano- unidentified er a cross between the Miles Davis nonet and then ebbs into the ensemble statement, orchestra arranged and conducted by Sid Feller. and avant garde. (The theme of Summer¬ a variation of the theme that Heckman Rating: * lin’s Leisure, for that matter, vividly brings describes as “Basielike,” leading to a brief This is a disappointing album in every to mind the Davis group’s performance of Carter improvisation which gathers mo¬ sense of the word, and hearing it caused the Bud Powell-Davis piece Budo.) mentum to the ensemble recapitulation. shock and pain. I hope I am not trying to force a paral¬ Impressive. The recording is of poor quality, the lel when I say I find real similarities be¬ Leisure follows, and after the thematic selections seem to have been chosen in¬ tween the work of the Davis nonet and the statement Summerlin takes his tenor on an discriminately, the arrangements are vapid, Heckman-Summerlin ensemble. It does outing in which he demonstrates a fine Charles’ performance lacks depth and feel¬ seem that despite the differences in vocabu¬ command of its tonal possibilities. It is ing, and the liner notes are simply awful. lary they are employing basically the same Heckman’s alto solo that most impresses He employs the device of a high falsetto approach, probably as a result of their me here, however, for he plays with a on nearly every ballad, producing a grating similar aims. searing force and brusqueness and does and most unpleasant sound. Both try to bring about a more mean¬ some mighty things indeed. Just in terms Perhaps Charles was indisposed at the ingful relationship between composer and of the effects he wrests from the horn the time of the date, but insisted on doing the improviser in the context of a small band. solo is exciting, but beyond this is the real album nevertheless. In any case, he has The two groups employ roughly the same power and directness with which he lays seriously neglected his responsibility as a approach to writing: the composed sections assault to his goals. performer, and his numerous fans will generally have the same kind of linear Kuhn displays sensitivity and inventive¬ justifiably feel the sting. —Sloane movement, being horizontally rather than ness in his gentle, ruminative statement at vertically oriented. And there is, to a de¬ the outset of Dialogue, softly plucked gree, the same kind of contrapuntal activity strings leading into a lovely, understated beneath the soloists. ~ piece of eloquent music. Don Heekman-Ed Summerlin ^**®«** But I don’t want to push the parallel Heckman and Summerlin strut their THE DON HECKMAN-ED SUMMERLIN IM- PROVISATIONAL JAZZ WORKSHOP—Ictus too far. The Heckman-Summerlin per¬ stuff next: first alto, then the two horns 101: Jax or Bettor; Leisure #5; Dialogue; Five formances are far more open and extended jointly, before the tenorist leads with a soft Haikus. Personnel: Heckman, alto saxophone; Summer- than were those of the Davis group, a susurrus of sound into an ensemble punc¬ fact that may only reflect the profound tuation. After this he builds to a socking, Carter or Steve Swallow, bass; Joe Hunt or Joe change the long-playing record has brought. honking climax which subsides, only to be Cocuzzo, drums; Lisa Zanda, vocal. The Davis sides were prepared for and built up again as the entire ensemble con¬ Rating: ★ ★ ★ ★ '/2 issued to an audience still geared to the structs a climax piecemeal, leading to the Well, Heckman and Summerlin have 78-rpm single release. theme once more. taken the bull by the horns and started Be that as it may, these sides effect a Haikus left me cold, seeming in com¬ their own record company, which gets off balance between written and extemporized parison with the other pieces much too to a fine start with the release of this music that is both refreshing and success¬ forced and artificial. Contrived, even, and exemplary set. ful. The composed sections are unpreten¬ not a little self-consciously arty. The gently There are two Heckman compositions, tious, often humorous, and they have cryptic nature of the five haikus was tor¬ lax and Haikus, while Summerlin has swing built right in. pedoed, for me at least, by their having contributed Leisure *5 and Dialogue. All Summerlin, on the basis of his two ar¬ been, overblown into such gigantic propor- are impeccably played by the ensemble rangements, seems the more overt swinger the two men have brought together. of the pair: Dialogue and Leisure are The musical settings were much too ex¬ In their notes is stated the purpose of brighter and more buoyant in character aggerated in their effects for the indirect the unit, which “. . . is implicit in the than is Heckman’s work in the same genre, ends of the poems. But this is just my name of the group.” Jazz workshops in Jax (Haikus is a piece of a different color). impression. the past have often stressed composition Actually, there is a marked difference Ictus records are, at this time, sold only at the cost of the life blood of jazz—im¬ in character between the composed and by mail. The album may be ordered for provisation. Heckman and Summerlin are improvised sections; the former seem far $5 postpaid, from P.O. Box 2, Village deeply convinced that a valuable musical more conventionally jazz-inflected (the Station, New York City 10014.—Welding contribution can be made by the creative, leaders’ description is appropriate: “fairly improvising composer-performer. Both co- traditional contemporary jazz”) than do leaders are active players who constantly the solo statements by Heckman, Summer¬ reshape their music in the act of perform¬ lin, Kuhn, and Carter, which reflect current THE JAZZ CORPS UNDER THE DIRECTION OF TOMMY PELTIER FEATURING ROLAND ing. avant garde practice for their respective KIRK—Pacific Jazz 10116: Harplyncss; Serenity; There is a real sense of spontaneity to instruments. The soloists for the most Peru-T; Another Plum; Chalan Pago; Le Bless- the group’s music, and this applies equally part, however, lead one gradually into to the composed sections. The success of this more energized kind of playing. And, Rodriguez, alto, ten baritone saxophone, the latter is due wholly to the writers’ it must be admitted, it works. vibraharp; Bill Plun ability to fashion thematic materials that There is a sardonic, kind of musty are in themselves interesting, have an air quality to Heckman’s Jax theme. His solo Rating :■*★★★ Vi of naturalness and inevitability about them, builds to a peak of screeching fervor, the Those who read the critics’ poll ballots 30 □ DOWN BEAT MORE JAZZ EXCITEMENT ON ATLANTIC RECORDS

SHELUT HANNE & H1S MEN

JAZZ GUNN LOVE-IN THE BEAT GOES ON Shelly Manne & His Men The Charles Lloyd Quartet Herbie Mann Atlantic 1487/SD 1487 Atlantic 1481/SD1481 Atlantic 1483/SD1483

MJQ LIVE AT THE LIGHTHOUSE MIDNIGHT WALK DOIT NOW! Atlantic 1486/SQ1486 Elvin Jones Brother Jack McDuff Atlantic 1485/SD1485 Atlantic 1484/SD1484

Available in Mono & Stereo

ATLANTIC

Write for FREE catalog to ATLANTIC RECORDS 1841 Broadway New York, N.Y. 10023

HORIZONS INDO JAZZ FUSIONS Ira Sullivan Joe Harriott-John Mayer Double Quintet Atlantic 1476/SD1476 Atlantic 1482/SD 1482 closely may have noticed my vote for frontation. There’s a John Brown strain Robert Pozar ■ Peltier as composer deserving of wider in the main theme. Rodriguez has a rough- recognition and for the Jazz Corps as and-ready solo on tenor, followed by a combo deserving of same. Don Cherry-like excursion from Peltier Your Bank; Maia; Good Golly, Miss N. that fortunately does not last long. Blessing Personnel: Mike Zwerin, bass trumpe My basis for these votes was the record bone; Kathy Norris, cello; Jimmy Garrisc under discussion here, which was released gets into some Monkish cadences as the Pozar, drums. some months ago, but inadvertently not horns bleat a bit behind him. Rating: * * * >/2 reviewed in Down Beat until now. The theme that precedes each soloist is Some fast impressions of this album: Perhaps the Corps would not sound as reintroduced as Plummer bows over noise Pozar is an impeccable drummer, with good as it does here without the added elements in the background. This is fol¬ a deft, light touch, and he has surrounded strength of Kirk, but I tend to think it lowed by some furious noodling by the himself with musicians who share his would because of the strong group feeling horns, Plummer flying all over his instru¬ understated approach to music. The music and because of Peltier’s intriguing com¬ ment from bottom to top. What makes this the group plays is quiet, reflective, un- positions. effective is that it is not allowed to con¬ frantic—thoroughly disciplined, in short, While the melodies are not startling, tinue to the point of boredom, as so many and quite the opposite of much of the they are usually original enough to be avant garde forays do. The theme is par¬ agonized frenzy that passes for creative distinctive, even when they are close to an tially stated at points along the way and ferment in the avant-garde. established genre, as in Serenity. then re-emerges, whole, to close the track. Why then do I not particularly respond This is a group that could appeal to the What Peltier and the Jazz Corps have to it? Well, to put it oversimply, primarily youngsters of the flower generation as well accomplished is more than an eclectic because it doesn’t go anywhere. as listeners of longer standing. I do not hodgepodge. It is a synthesis that works The players are extraordinarily sensitive mean to imply that it is a rock group. It because there is thought and, above all, to each other’s work and to the process of is a group of today, combining essences warm, human emotion involved. With group improvisation. Their interaction is and aspects of Ornette Coleman, Miles Kirk in fine form, this is an album to most impressive: always in good taste, re¬ Davis, the Beatles, the Tijuana Brass, and which you should open your ears and strained, and even elegant. Well-ordered nonspecific Latin elements. hearts. —Gitler all around; never up tight, frantic, or Some of it is intentional, and, I’m sure, intrusive. a lot is by osmosis. The result is delightful; Oscar Peterson ^^^^^H^BMann^BBi Listening to the album, I was reminded a kind of west coast “new thing” (I don’t THOROUGHLY MODERN TWENTIES— of a clutch of guitarists I once heard jam¬ Verve 8700: My Heart Stood Still; Lady, Be use “west coast” in a derogatory manner, Good; Can't Help Lovin’ Dat Man; Should I?; ming together in a Nashville music store. but it couldn’t have happened anyplace in Liza; Manhattan; Remember; 01’ Man River; l Their involvement in the act of playing the United States but in southern Cali¬ Can’t Believe That You’re in Love with Me. together was total; they were good jazz- Personnel: Peterson, piano;; Herb Ellis, guitar fornia). (tracks 4, 7, 9); Ray Brown, bass;' i; Ed] Thigpen, based musicians and they gloried in the Harplyness is a “love” sound. Peltier (all ti cks n h Ellis) way they responded to each other’s im¬ plays mellow cornet. His chops are not the Rating:**** provising. And they gloried and gloried, most powerful, but he has a warm concep¬ Actually, this is old wine poured from and played and played. They were trans¬ tion. Rodriguez’ alto shows some Eric a new bottle, and while the wine is en¬ fixed. Dolphy-like touches, and he incorporates hanced by the aging process, the bottle For the listeners, however, it was a dif¬ them delightfully into his conception. leaves something to be desired. The fact ferent story. Uninvolved in the actual Kirk’s baritone solo has a relaxed, floating that all these tracks come from seven physical processes of playing together, of quality, a caressing sound, and some ef¬ albums recorded during 1959-60 plays an give and take, as were the musicians, the fective double-timing as a climax. important part in the inconsistencies of hearers were forced to fall back on what Serenity finds Kirk and Rodriguez sound and miking. the guitarists were playing, which was, blending flutes with Peltier’s muted cornet. Conceivably, this collection could pro¬ sad to say, dull. It just kept circling over It’s a lovely melody. The solos sustain the vide ammunition for those who claim the same area. mood perfectly. Peterson isn’t saying anything new. The Much of what occurs in the Pozar set Kirk, on strich, gets into a Caribbean only answer can be, “So what?” Peterson reminds me of that. The four musicians island bag quite comfortably on Peru. and Brown were geniuses then and have deployed in the six pieces seem more Peltier plays a la Miles Davis in places, remained so. Each has maintained su¬ taken up with the manner of their playing and Rodriguez, on flute, enhances the trip premacy on his instrument. What the trio together than with the matter that the as the rhythm section adds the right punc¬ said then had a timeless quality of perfec¬ group interaction is supposed to be gen¬ tuations. It ends with Plummer’s strum¬ tion that has not diminished in the current erating. ming. fad-conscious world of jazz. Make no mistake: their rapport is im¬ The bassist and drummer Miller are What makes this album especially inter¬ maculate, their responses to each other prominently featured on Plum. First esting is that it provides comparison of immediate and sensitive. In terms of total Miller backs Plummer’s well-articulated two different trio approaches, one with interactive playing the Pozar ensemble is solo and then gradually becomes the domi¬ guitar, the other with drums. Taking one a gem among gems. nant voice. Peltier plays fluegelhorn here, track apiece for illustration, Should 1? But its music is so sterile, so ingrown. and Rodriguez tenor, but neither solos. indicates a contrapuntal conception, with It is distressing to hear a group that has Even the theme itself is mainly a rhythmic oodles of notes generated by piano and developed such remarkable powers of guitar. It has the excitement of a Dixieland ensemble interaction and that has failed, Pago is an exotic number with some out chorus and places a rhythmic burden for some reason, to find or project an end nice twists. Blessing comps well, as he does on Brown to which he was equal. worthy of the means they have so pains¬ in several other spots. Kirk’s flute is a Ol’ Man River, on the other hand, shows takingly achieved. jungle bird, and he does some unison sing¬ how Thigpen’s intense brush work pro¬ This is not to say that there is nothing ing with it that really blends well. vided an inspirational foundation that of interest here. All through the six per¬ Blessing is another “love” theme, with goosed both Peterson and Brown. It also formances there are moments of real good bass by Plummer. One gets to hear shows Thigpen at his best in “answering” excitement, of creative ferment, of lovely enough of Blessing to realize he is a vibist Peterson, as he did with tom-toms for the playing—moments in which the attention to reckon with. He can play pretty and to detail pays off handsomely. But the also swing a while. The notes mention a I wonder how many of today’s combos music fails to cohere; in the end it bores, tenor solo by Rodriguez, but instead I will sound so vital eight years from now? because the elements do not fuse into a hear a baritone solo by Kirk. There is a —Siders larger, consistent whole. short tenor bit at the end when everyone But what a tremendous foundation they gets into a modified freedom bag. have built! These excellent artisans ought Meanwhile (at 8:12 the longest track in to summon an architect whose designs VOTE! will be worthy of their abilities to execute the set) sounds like Ornette Coleman and See page 44 Herb Alpert in a not unpleasant con¬ them. —Welding 32 □ DOWN BEAT strumental, or structural experiments— cated to authenticity. His singing is a baroque chants, electric saws, and so on— mellow combination of Jimmy Colton and and they had, in Eric Clapton and Jeff Buddy Guy, and his playing is solidly in ROCK ¥ POP Beck consecutively, two of the best guitar¬ the Chicago school. ists in Britain. But they often released Clapton is the most influential guitarist BY JOHN GABREE tracks that needed to be worked out fur¬ in England and something of a legend ther in the studio. (having quit the Yardbirds almost immedi¬ The Yardbirds, Lillie Games (Epic LN On their newest release, the Yardbirds ately after For Your Love became a hit). 24313) have switched to producer Mickie Most His work has been available only spor¬ (Herman’s Hermits, Donovan, early Ani¬ Rating: ***>/2 adically in the United States (though we mals), and the result is an album as ex¬ John Mayall-Eric Clapton, Blues Breakers have had good looks at some of his fol¬ citing as their earlier ones and a good deal (London 3492) lowers, such as Jeff Beck and Peter more ordered. The range is wide and the Townshend), so the albums have an added Rating: * * * * writing is improved. The Cream, Fresh Cream (Atco 33-206) Highlights include a beautifully com¬ To my mind, the best numbers on Blues Rating:**** mercial song about maturation (Little Breakers are Mayall’s own compositions: The Who, Happy Jack (Decca DL 74892) Games); a harsh, bluesy Smile on Me (like Little Girl; the ominous Double Crossing Rating: ***** the “old” Yardbirds); a remarkable fusion Time (with Clapton); the rocking Key to Zoot Money, Big Roll Band at Klook’s of folk-rock and Eastern music in White Love; and the intense Have You Heard? Kleek (Epic LN 24241) Summer; a gay adaptation of the nursery On his only vocal, Clapton gives a warm Rating: * * * Vi rhyme Tinker Tailor, Soldier Sailor; a rendition of Robert Johnson’s Ramblin’ on Bee Gees, The Bee Gees’ First (Atco thing called Glimpses that sounds as if it My Mind. John McVie, bass guitar, and 33-223) might be the theme from a hippie movie; Hughie Flint, drums, provide a perfect Rating: * * * l/2 a beautiful folk-rock tune called Only the back-up for the leaders. The Yardbirds were the most exciting Black Rose; and Little Soldier Boy, an Less purely in a blues bag but almost experimental rock group of the first several antiwar protest, in the background of as exciting—and more important, since years of the British revival. Always a step which there is an ironic trumpet parodying the group probably will hold together long or two ahead of the Rolling Stones, they both martial music and Beatles baroque. enough to grow—is Fresh Cream. (An¬ pushed rock further structurally and har¬ The best Yardbirds’ alumnus so far is other Clapton follower who has become monically than any other group. They had guitarist Clapton, who is featured with his own man, Peter Green, has succeeded a few medium-size hits, but their main vocalist-harpist-organist John Mayall on Clapton on the new Breakers album, soon influence came through album sales to Blues Breakers and who is the leader of a to be released in the U.S.) other groups and live appearances (they new hard-rock trio—called Cream—with The Cream tackles six originals of vary¬ are the group that breaks up the guitar in two other famous British rockers, bassist ing quality and four traditional blues, the Antonioni’s Blow Up). Jack Bruce and drummer Ginger Baker. best of which is a good-timey version of Their biggest problem on record has Mayall is a highly individualistic per¬ Robert Johnson’s Four Until Late (avoid always been lack of discipline. They former who, over the last four years, has this track if traditional blues is your bag). would engage in interesting harmonic, in¬ led a succession of blues bands, all dedi¬ One of the best examples of the Clapton m

AVEDIS ZILDJIAN CO. GENE KRUPA plays AVEDIS ZILDJIAN cymbals exclusively The style comes on Cat’s Squirrel, a remarkably subtle performance that builds to dizzying Giants dramatic heights. I’m So Glad is an up-to-date version are still on (which may also bug purists) of Skip James’ blues. The trio blends vocally and instru- PRESTIGE! mentally in a reserved intensity that has the power of a laser beam. The only thing that can keep the Cream from developing into the best hard-rock group in England is Clapton, who already sounds just the tiniest bit bored by it all. The Who is the summation of everything that has happened in the destructive, social- commentary, tell-it-like-it-is camp that in¬ cludes the Stones, the Yardbirds, and Clap¬ ton, Beck, Green, et al. In every way, the Who is an exceptional group, providing several points of comparison with the Cream. Since Roger Daltry, the excellent lead singer, only dabbles on the piano, the Who is essentially a drum-bass-guitar trio BARRY HARRIS/PRESTIGE 7498 with vocals. Nineteen-year-old Keith Moon is the only drummer in England who equals Ginger Baker, but his style is as irregular as Baker’s is precise. He fills the back¬ ground with rumbles, shots, and blasts that unaccountably fall perfectly behind what¬ ever is going up front. Bassist John Ent- whistle lays down a solid foundation, but FOR FREE CATALOG SEND TO he is overshadowed by Moon and by lead PRESTIGE Records Inc. guitarist Peter Townshend. It is hard to find precisely the right way of describing 203 So. Washington Ave. the group’s sound, though either “con¬ Bergenfield, New Jersey trolled Yardbirds” or “gentle Stones” might do. The most notable composition is Town- shend’s mini-opera, A Quick One While He’s Away, which runs about 11 minutes and has four or five separate themes and an episodic story line. Townshend’s other four compositions are all interesting and original, as are the two each by Moon and Entwhistle. Only Daltry’s See My Way is an inferior tune, but the group carries even it off in a remarkable burst of talented rock-and-rolling. Two other new British LPs deserve at¬ tention. Money’s Big Roll Band at Klook’s Kleek captures the feel and sound of the James Brown organization in a way matched in the United States by few groups, black or white. Money and sideman Paul Williams have rich but unpretentious voices, and they approach the blues with neither con¬ descension nor overrespect. The band is solid; all the solos are interesting, including excellent organ work, presumably by Money, though the liner notes are unclear. Most of the titles are hard-rock standards. This is a happy, swinging effort. Bee Gees’ First is Revolver-type Beatles, with slight echoes from the Stones, Spencer Davis, and Motown. The band is tight, the A DIFFERENT KIND OF RECORD CLUB lead singers are good (especially the soul¬ with a Special Membership Plan... ful voice in command on One-Minute Featuring JAZZ Woman, To Love Somebody, and I Can’t Also, Popular, Folk, Classical, etc. See Nobody), and most of the songwriting No purchase obligations—No list is of high quality, if a bit too Beatlish. price purchases. Virtually all labels Included is their first U.S. hit, New York and artists available. Choose from Mining Disaster 1941, and 13 other tune¬ catalog of over 25,000 albums. ful, literate compositions. The Bee Gees Write for free details... still need to develop their own sound, but they are already far beyond most groups v c c° that have grown up with the Beatles, gig BATTLE CREEK, MICHIGAN 36 □ DOWN BEAT powerful. portable, stackable!

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GLENNMILLERORCHESTRAUNDERDI¬ conventional bags. root fortwobeats—thattypeofsound. played inanolder,tighterfashion.For things arehappeningasfartheindi¬ that wasBuddyDeFranco,andpossibly net, arranger;BillyStrayhorn,composer. RECTION OFBUDDYDEFRANCO.Chelsea the rootfortwobeats,andthennext instance, thebassplayer,iftherearechord that, firstofall,someinterestingharmonic the GlennMillerOrchestra. Thompson, piano;RichardSimmons, bass;Albert 3. QUARTETTETRESBIEN.The Shadowof for therecord. identity, withthatrhythmictightness. that waydeliberatelytokeeptheMiller normally sound.Ithinkthey’replaying more modernthanthatkindofbandwould part wherethethemeisestablished,alot changes happeningeverytwobeats,plays vidual voicingsareconcerned,butyetit’s St. James,drums; PercyJames,conga. stars, and,ifit’spermissible, three stars of what allmyBrazilian friendsreally here andnow.Because thatistheepitome was aBrazilian group,I’djustdie,right Your Smile(fromHereItIsl, Decca). Jeter 38 □ DOWN BEAT Was thatanin-personperformance? Isn’t thatfunny—hereIamlisteningto I’d giveittwostars. The bandstrikesmeasanenigma,in The harmony,especiallyintheopening I’m goingtotakeawildguess—Ithink I’d givethearrangementagood four Now thatrecord—if youtoldmethat Latin groupswoulddo.It’spartoftheir you mightconsiderthefirstpatternthat that’s thefirstthingthatmostnormal sound isthefirstcriminalsin.Andyet bossa nova. musicians aredoingtowhattheycall detest aboutthethingsAmericanjazz phrase theyheardCountBasiecompand hackneyed. It’sliketakingsometwo-bar pletely foreigntothenatureofmusic. natural instrumentation.Butthisiscom¬ tiresome. Andthepianisthadallsortsof the pianistgotsoinvolvedwiththatdaht, throughout thewholepiece. then playingthatsamecompingpattern the bossanova,whichhasbecomeso drummers everlearnedinthiscountryfor 4. SERGIOMENDES&BRASIL’66.Wafch plays two-handedchordsinwhichhe conflicts harmonically.Forinstance,he where inbetweenstrongBrazilian music point wherehe’shadcommercialsuccess still calledhisgroupBrasil’66in1967, piano, arranger;JohnPisano,guitar;Joao can givethatonestar. conflict. Boy,asfarI’mconcerned,you daht, daht.—itreallybecame pianist, but herehe’s tryingtogive a cated andsodynamic. and quasi-rock. tremendously, thoughit’sgettingtothe group andtheFrenchsongfromThe he said“’66wasagoodyear!”That’shis Palma, drums;MichelLegrand,composer. What Happens(fromEquinox,A8.M).Mendes, and anotherintherighthand,complete one alterationofthechordinlefthand Baden Powellstyle, whichissocompli¬ Brazilian thing down. Hecanplayinthe wnamplified guitar,hasreally gotthe one ofthefewpeoplewho,on theregular Brass playinganamplifiedguitar. Heis doing whathe’sdoing,soit’snowsome¬ of thethingsthey’vedoneIhaveenjoyed Here theyhaveJohnPisanoof the Tijuana Umbrellas ofCherbourg. For instance,addingacongatothat The drummersitsthereplayingwhat Both thedrummerandlefthandof Joao Palmaisanexcellent drummer. When IaskedSergioMendeswhyhe Sergio normally isamuchmoremelodic It’s notoneoftheirbettertracks.Some Fischer aspianist,arranger,and/orsambaspecialist.He because theyseemedlikelytobeofspecialinterest wrote thefirstbossanovaorchestrationscreatedinthis his earliestwritinginfluence.) the endofthatperiod,hescoredcelebratedDizzy was givennoinformationaboutthem.—LeonardFeather who canbackupsuchassertions.InMarch,1962,he the importationofbossanova,Fischerisonefew to theattentionofjazzstudents.(HenamesEllingtonas theory, andcompositionatMichiganStateCollege,where director fortheHi-Lo’sfrom1957through1961.Toward he earnedhismaster’sdegree. knowledge ofthetubaandseveralotherbrassinstruments, country, aspartofanalbumhescoredforCalTjader. Gillespie albumofDukeEllingtontunesthatbroughthim as wellsaxophonesandviolin.Hestudedharmony, and composer-arranger,ClareFischerhasagoodempirical The recordsselectedforthisBlindfoldTestwerechosen Fischer firstcametoprominenceaspianistandmusic Although manymusicianshaveclaimedamajorrolein In additiontohiswell-knowntalentsaspianist,organist, very smoothlymelodic. what heusuallyhas—hislinesare mercial sound,andhecomesoutlacking hardness andvitalitytotheover-allcom¬ Suite, RCA).Ellington,BillyStrayhorn,com¬ faster things,Ienjoymuchmore.Two things theydo,likeOPato,orsomeofthe I finditpleasant;ontheotherhand,some trombones, andsaxophones,hehasa existence, whetheryou’rethinkingofit stars. that? very blatantlyandraucously; butthese mouthpieces andthestrongreeds. the hardsoundswhentheyneedtoreally flutes, andyettheycangetraucouswith ry Carneyhere—theyplaysovelvetyand sophisticated crudity.Itgivesboththe and createsomething—youmightcallit The bandisoutoftune,forinstance,and perfect wayofutilizingthemen’sspecific old tiredinstrumentationoftrumpets, except BillyStrayhorn. nobody couldevenbecomparedwithhim, anybody Iadmiremorethanthisman; immensely creativewriting.Ican’tthinkof orchestrationally orintermsofDuke’s there, tome,isthemostperfectbandin and workbackwardsfromthere.Now 5. DUKEELLINGTON.Agra(fromFarEast Why didn’tyou playmorethingslike certain feelingthat isalltheirown. guys, without sounding academic,geta get intoathinglikethis—can beplayed sound. Toooften,trombones— when you are completelyhard,with the metal and LeeKonitzes,orelsethe people who either thesoftsoundofPaulDesmonds dig inforsomething.Usuallyyouget subtone-sounding untiltheysoundlike and thesophisticatedquality. qualities thatIlookfor—anearthyquality their ownbrandofintonation. it doesn’tevenmatter.Theyalmosthave sounds. Anythingheplaysisaworkofart. posers, arrangers;HarryCarney,baritonesax). This hasnothingtodowithjazz,but That’s wild!I’llstartoffwithfivestars The saxophonesection—especiallyHar¬ Duke doessomethingwiththissame Now thatisthe kindofrecordIlike. The trombones,too,haveavery special Duke cantakeanexotic-soundingidea There’s a world swing to Premier...

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Prnrnwr FIRST IN THE WORLD OF FINE PERCUSSION | Enquiries i: Premier. 87 Regent St.. London W 1. Enoland SHEARING cian much in demand around Hollywood. in behind him. For the windup of each Guitarist Pass has the instrument covered night’s performance, as a matter of custom (Continued from page 22) from Django Reinhardt through Charlie and tribute, Shearing’s men follow him Christian to the present. Pass’ wizardry through the timeless contours of one of that required not only expert sight-reading will be noted frequently in the course of the Charlie Parker originals in the book. but also some tricky execution and coor¬ a night’s work when Shearing will gasp george shearing is a mirror of the posi¬ dination. Well . . . Colin sat down and a “Wheel” or “Whoo!” while comping tive things, the constructive elements in sight-read that thing in 9/4 and knocked behind Pass’ fleet, intricate lines. jazz. The reflections are toned with refine¬ me out.” The boss is responsible for eliciting a ments and variations but remain true to Bailey, a transplanted Britisher like his few gasps as well, from his players and the original. Jaundiced businessmen, who boss, is a remarkable player. He delivers members of the audience. On a piece called don’t know Bird from John James Audu¬ the time with crisp authority, has lightning Why Not? he does an unaccompanied solo bon, applaud Parker compositions when hands, and a thunderstruck right foot. He interlude that evolves, or devolves, into Shearing plays. That is one of his great has written an instruction book on bass a Bach fantasy that threatens to entrench gifts to jazz—getting it into places it’s drum technique and has another book itself in the year 1750 and never return. never been, in rooms and ears and minds forthcoming. Bailey is also working his Then, while his players listen in wonder¬ that are otherwise closed. way into vibes under the guidance of ment, Shearing works his way out and Shearing wants jazz to stay on a course jumps back into the 1960s, his men falling quintet-mate Shoemake, a versatile musi¬ that pays heed to the signposts. “I’m concerned about the way our tra¬ ditions are being swept aside by some musicians,” he said. “We have to progress, and progress requires experimentation, but there must be a link with the past. When bop exploded in the middle ’40s, it was considered completely revolutionary, but it was, in fact, evolutionary. For one thing, many of the bop pieces were no more than variations on standard tunes. Some of the jazz that’s played is so wild that it’s be¬ yond any criteria by which to evaluate it. “When I speak of tradition, I mean not only jazz traditions but those relating to music as a whole. Certainly, my classical training influences the jazz I play. By con¬ trast, the quintet sound was suggested to me by Glenn Miller’s reed voicing.” Pointing out the varied sources of in¬ spiration, Shearing continued, “The suc¬ cess of the Beatles was no accident. They had an instinctive feeling for melodies that communicate, and some of their bet¬ ter songs have the character of Elizabethan folk ballads. I toyed with the idea of making an album called Music in the Eliza-Beatle Mania, doing their songs in the formal Elizabethan style.” Instead, Shearing has recorded some Beatle num¬ bers in the quintet style. When hearing the touch that is Shear¬ ing’s, it burdens the imagination to envision a 5-year old beating on the piano with a hammer. That was George’s first manner of musical expression, and his mother and father, to spare their nerves and the piano, decided to get him lessons. Home ground in those early years of his life was Lon¬ don’s working-class borough of Battersea. With a family of nine children, money was scarce in the Shearing home. George was born blind and learned to read Braille at the Shillington Street School for the Blind. He then went to Linden Lodge School, when by the age of 12 his uncom¬ mon musical gifts began to flower. To this day, Shearing thinks warmly of his instruc¬ tor, George Newell, who taught him in both schools and nurtured his talent. Until he was 16, George studied only the classics, but then he came into contact with the records of Earl Hines, Teddy Wilson, Fats Waller, and the fantastic Art Tatum, and these gentlemen of the jazz piano introduced him to a new kind of expression that stimulatingly counterbal¬ anced the strict discipline of earlier study. These dual influences are endemic to the Shearing style. The quintet sound, with its

40 □ DOWN BEAT delicate interlacing of piano, vibes, and sons he meets—their attitudes, background, Man, what’s the matter with you? One guitar, underscored by the smooth pulse of experiences in life. He sees more than most button swings more than three.” bass and drums, has a texture so evocative who have sight. His pale blue eyes radiate Sitting in a distinguished old German it almost has a fragrance, and even on awareness. There is no registration of restaurant, the Berghoff in Chicago, Shear¬ numbers of strong propulsion, a certain image, but there is a knowing look in them ing was feeling relaxed and contented. He ethereal quality remains. (Bud Powell once sa'd of Shearing, “That had made efficient work of pot roast and Shearing always has been able to take cat ain’t blind—he’s just acting”). potato pancakes to the accompaniment of raw musical force and tame it; he showed There is a certain tentativeness of move¬ some excellent German wine, which the that original compositions could be strik¬ ment born of bruised-shin caution, but the waiter had recommended, and Shearing ing without being shattering, that the ear myriad hotel rooms he inhabits are quickly had two small glasses, a rare departure could be stimulated without being shocked. solved as to dimensions and furnishings. from the nonalcoholic regimen dictated There is a measured quality about his Long a person of method and order, Shear¬ by his ulcer condition. Now he was at writing and playing; everything falls into ing gets by with a minimum of difficulty. work on some marzipan strudel and raving its proper place. His solo pieces are things To negotiate outside areas he has had for about it between mouthfuls: “Oh, this is of grandeur, his beautifully constructed and the last few years a guide-dog named Lee, marvelous . . . just beautiful. What? You executed April in Paris one of the most a large and handsome Golden Retriever. can’t eat all yours? ... You can’t be grand. With La Marseillaise neatly em¬ As does any dog trained to guide the serious. Well, don’t let the waiter take it. broidered into the start and finish, he blind, Lee responds instantly to all com¬ Cut it in half, and I’ll take it along. I’ll weaves in statements from The Last Time mands. Almost all commands. On the Mike have it after the job with a cup of tea.” 1 Saw Paris and An American in Paris Douglas television show Shearing appeared This man, who performs so brilliantly along the way, as well as some touches of with his quintet, and Lee, who lay at the at a piano keyboard, brings some of the Bach, in a performance that is as splendid side of the piano as his master played. same grace to the keys of a Perkins Braille- an illustration of his mastery as anything When the number was over, Douglas Writer. On one occasion, in a Chicago he does. chatted with Shearing, and they talked hotel room, he was filling out an applica¬ As he brings virtual perfection to the for a moment about Lee. Shearing tugged tion to the Hadley School for the Blind, piano, his finely honed hearing demands on the leash to turn Lee around and give an institution that offers free correspond¬ the same from it. It is the custom at the audience a better look at the dog, but ence courses in Braille. Shearing wanted to Chicago’s London House to have the piano Lee demurred, refusing to face the viewers. take a course in business law. His road tuned once a week; during Shearing’s en¬ “All right, Lee,” Shearing quipped, “that’s manager, Wally Ryan, sat on the bed gagements, the piano is tuned three times enough of those Miles Davis impressions.” reading off the questions, and Shearing a week. Shearing’s perception extends to the mat¬ sat at the desk with the Braille-Writer, The compensatory development that ter of clothes, and while he must depend filling in the answers. “Okay, next,” Ryan sharpens the other facilities when one has on others for color, he is very conscious said. “What is your reason for taking the a sensory handicap is evident to an uncan¬ of material and styling. course?” Shearing paused and then said, ny degree in Shearing. In the manner of “Feel that,” he’ll say, turning the lapel “Hmmm . . . uh, advancement.” a clairvoyant, without any intention of of his jacket, “Isn’t that beautiful? Let me Shearing sails on, presenting music that creating such an impression, he is able see your jacket . . . Ahh, yes, that’s nice is always music, wreathed in confidence, to render pinpoint judgments about per¬ material, but what is that—three buttons? curiosity, and humor. ffrrej

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□ I play Guitar. Send catalog of Kent Electric Guitars. 6945-a October 19 □ 41 CAUGHT IN THE ACT (Continued from page 26) came across clearly. Barton, an ex-trom¬ Play it bonist, is rapidly gaining stature on his late love, the drums, and carving a niche for himself as a composer-arranger. His all night three originals made for provocative listen¬ ing. long. Singing Oyster was a delight in 3/4 time. Polyphonic, the sections moving in close order with Rowe and Daversa mak¬ It stays ing salaams, it probably will be in the book until it’s dog-eared. Three Thoughts con¬ right trasted sepulchral brass with alto and trumpet in a subdued mood, the gradually slowing rhythm reflecting the languor of where the piece. Barton’s New Day started slow¬ ly, Daversa’s serene trumpet over an ele¬ $8750 With famous DeArmond Electronics you first giac background, and then accelerated into a steady 4/4 whipped to a breakneck Other Rockets to $147.50 pace, while Daversa remained unruffled at Harmony Amplifier $89.50 put it. all tempos. Others to $400. An accolade for Duke Ellington was a For Free Catalog, Address Dept. DA straight-ahead Take the A Train. It is a THE „ , rare thing for Kenton to dip into another -COMPANY bandleader’s repertoire. Rowe played genial 4604 S. KOLIN AVE. CHICAGO 60632 tenor here and was downright brilliant on Summertime. IF YOU PLAY ACCORDION Auxiliary percussion was used again for nckup Makes a World of the Latin American aid that bridged and Difference . . . peppered a medley of familiars: Eager even to a Beaver, Opus in Chartreuse, and Artistry in Rhythm. The trombones’ slow intona¬ _ professional tion of Kenton’s leit-motif on Artistry Ask Your Dealer climaxed the evening. for the Best. . . . Forger and sometime prisoner of fortis¬ Terlinde Pickups simo chains, Kenton can deal in finesse as Prices start as expertly as in shout. His current orchestra Low as $22.50 is eloquent on all musical levels. —Sammy Mitchell

Arrangers’ Holiday 1967 Eastman School of Music Terlinde Rochester, N.Y. Personnel: Arrangers' Workshop Orchestra: Rayburn Wright and Manny Albam, conductors. Rochester area high school stage band, the Rev. George Wiskirchen, C.S.C., director. The Jazz Quartet: Thad Jones, fluegel- WHEN you have Rogers horn: Chick Corea, piano; Richard Davis, bass; Mel -WANTED- patented Swiv-o-Matic The many faces of jazz were displayed Intercollegiate holders. to a near-capacity crowd at the eighth an¬ ★Bands ★Combos ★Vocal Groups There’s never been a tom¬ nual Arrangers’ Holiday at Eastman. Be¬ tom holder like this. You get gun as a showcase for student arrange¬ for any angle, any height, any di¬ ments by the members of the arrangers’ workshop at the school, the annual event MOBILE JAZZ FESTIVAL rection. You set up instantly. has matured, under the direction of Wright (February 16-17) You get POSITIVE 100% and Albam, into an outstanding jazz pre¬ LOCKING. sentation. Queries and Tapes to: Nothing twists, moves, falls. The workshop makes use of a resident, Mobile Jazz Festival P. O. Box 1098 Ever. Try Rogers drums—with professional 50-piece studio orchestra, which functions in various capacities— Mobile, Alabama 36601 Swiv-o-Matic cymbal and from combos to big band to small orches¬ tom-tom holders. They hold tra to full orchestra—to give student the most. arrangers a chance to hear exactly and LIPS SORE? fasrel precisely what they have written. This en¬ first in percussion semble, in its various guises, provided the basic performance unit for the concert. In the first part of the program (ar¬ rangements written during the second ses¬ sion of the workshop), an up-tempo, driv¬ ing setting by Lovell Ives for Work Song was followed by an arrangement of What CBS Musical Instruments/CBS.Inc. Now, My Love? by Warren Kellerhouse. 1005 East 2nd Street • Dayton. Ohio 45402 It opened with a lonely and murky string- and-woodwind section, setting up Eugene 42 □ DOWN BEAT Wade’s French horn handling the melody but tasteful display of technique, his lines over a Latin base. assuming a hornlike legato quality. In this An Oriental rock original by Earle Cor- solo, he effectively used bent notes and ry, Suk Chu, featured mallet colorations slides, building tension over insistent ped¬ over a gently “rocking” rhythm, before al points—sometimes moving, sometimes leading to a subdued violin solo, a trom¬ stationary. bone solo by Tony Studd, and piano work Corea’s solo was deeply inflected with by Tom Ferguson. The orchestra switched classical piano techniques. His approach into a funky 3/4 before a recapitulation to the instrument is thoroughly orchestral. of the Oriental percussion section. Throughout the evening, he demonstrated Studd’s scoring of Spring Can Really remarkable control and touch, especially Hang You Up the Most provided a poetic, behind the bass solos. In his solo spots, complex, impressionistic background for a Lewis engaged in coloristic exploration of sensitively phrased baritone saxophone the drum set, especially of cymbal sounds. solo by Ned Corman. Casino Royale, in¬ The quartet interspersed three numbers troduced by conductor Wright as a “Bond- of their own in this half of the program. ish” piece, was pretty much of a put-on. Corea’s What Was!, a jazz waltz, opened The arrangement, by Gene Ronsonette, with Jones’ playing of the haunting, “times was a humorous rock melange larded with past” melody over complex rhythmic pat¬ liberal quotes from classical sources. terns that avoided the usual jazz waltz A Rochester area high school stage band feel. Behind the solos, Davis kept spread¬ —a lab group for Eastman’s stage-band ing the time and building tension. procedures course—rode the creaky pit Steps, a fast minor blues by Corea, fea¬ elevator up to the stage with John Morris’ tured Jones in a furious, jagged solo, Lewis punching, up-tempo arrangement of Rose really cooking behind him and then con¬ Room, and followed with creditable read¬ tributing a fiery, wild solo. ings of two Albam arrangements from his Brass Afire album: 1 Get a Kick Out of You and My Heart Stood Still. The first half of the concert ended with a film festival including a demonstration of silent-movie house piano technique by the retiring director of the Eastman sum¬ mer session and founder of the arrangers’ workshop, Allen I. McHose. The second half highlighted the guest artists for this year’s concert. Thad Jones Model 2-15K-4 was sincere and communicative on fluegel- horn; Mel Lewis rock-solid, generally un¬ obtrusive, and always kicking on drums; Richard Davis’ lightning fingers laid down Where it's et! bass lines that were so right, so musical, so solid; and Chick Corea comped cre¬ atively with a crystal-light touch on piano, soloing with a classical orientation. This quartet also served as rhythm sec¬ MANNY ALBAM tion and soloist on four big-band numbers, Outstanding Presentation Ross Inc. really knows three of which were from the Thad Jones- what's happening in band Mel Lewis Band book. The long concert ended with the first The line on Three and One was quietly performance by the full orchestra of a equipment. The exciting new stated by Jones and Davis with shouts suite adapted from Albam’s Soul of the from the band. After a blistering saxo¬ City recording under the composer’s direc¬ line of Kustom products in¬ phone ensemble, Jones and Davis engaged tion. The Jazz Quartet again served as the in one of their free, humorous “conversa¬ rhythm section, Jones handling all the cludes 22 prestige models tion" solos. Throughout the evening Jones solo spots. took his fluegelhorn to the heights with After a dramatic, fanfare-ish orchestral of amplifiers & PA Systems, exciting screech effects. Bob Brookmeyer’s opening, Born on Arrival featured subdued Semi-hollow guitars, Elec¬ arrangement of Willow Tree featured long, playing by Jones. The lightly swinging asymmetric lines by Davis, bending in and Ground Floor Rear (Next to the Synagog) tronic Organs, Lighting sys¬ out of time. was punctuated by ethnic interludes. The A high school graduate and future music happy, lilting, 3/4-time Children’s Corner tems, Microphones, and major at Ithaca College, David Berger, was a most ingenuous and simply pleasing won the Duke Ellington Scholarship (of¬ line, interrupted from time to time by more. fered by Eastman to a student arranger) game cries. Organlike and melancholy for his setting of Lover Man. string voicings introduced View from the Opening with a warm fluegelhorn state¬ Outside, featuring simultaneous improvis¬ ment, moving effectively in and out of ing by altoist Jerry Niewood, trombonist double-time sections, the arrangement made Studd, and Jones. An exciting reading of Write for free color catalog. good use of French horns and somber Game of the Year concluded the suite and big-band colors, as well as dramatic and the concert. unusual full ensemble shouts. Beautiful Eastman has become committed to jazz RCS§, inc. ensemble writing surrounded bass and pi¬ only in the relatively recent past, but the ano solos leading to Jones’ humorous commitment is now a deep and extensive BOX 669 closing display of flexibility. one, and a successful one as well, if the CHANUTE, KANSAS 66720 Jones’ Once Around was up tempo, arrangers’ workshop and Arrangers’ Holi¬ Lewis kicking the band and the combo all day are a valid measure. the way. Davis’ bass solo was a virtuosic —George Wiskirchen, C.S.C. October 19 □ 43 Various Artists Meadows Club, Chicago /—readers—* Don’t Buy an Amp What kind of tribute would be fitting for John Coltrane? More than Charlie Parker, Louis Armstrong, or who you will, poll Coltrane became very popular without his Before You Try audience understanding much of what he instructions was up to. In fact, the greater part of that audience had already appeared when he VOTE NOW! was with Miles Davis, and since then, of The 32nd annual Down Beat course, Coltrane has become a public Readers Poll is under way. For symbol of newness and progress, orgiastic the next four weeks—until ritual, even cultivated savagery. midnight, Nov. 1—readers will This image seemed to embarrass Col¬ have the opportunity to vote for trane; he would tell interviewers that he their favorite jazz musicians. felt his own role was simply to suggest new Facing this page is the official SuperSound ideas and techniques to other musicians. ballot, printed on a postage- If this were really true, he would have paid, addressed post card. Sim¬ been no more than one of those unhappy ply tear out the card, fill in figures who inhabit the transitional periods your choices, and mail it. No of any art’s history. To the contrary, apart stamp is necessary. You need from his technical and rhythmic innova¬ not vote in every category, but tions, Coltraiie’s contribution was a unique¬ your name and address must ly powerful mind and a complete dedica¬ be included. Make your opinion tion to the craft of creation and perform¬ count—vote! ance. When he said, “My music is an act VOTING RULES: of devotion,” he was stating a plain truth. Did any other musicians, who recorded as 1. Vote once only. Ballots must frequently, manage to retain standards of be postmarked before midnight, quality as consistently high as Coltrane’s? Nov. 1. His complete seriousness and responsibility 2. Use only the official ballot. could profoundly illuminate even a failure Type or print names. like Ascension—and somehow most of 3. Jazzman of the Year: Vote the musicians and fans who heard Coltrane for the person who, in your missed the message. opinion, has contributed most Saying this is to say that Big Joe Wil¬ to jazz in 1967. liams could just as appropriately pay trib¬ 4. Hall of Fame: This is the When choosing your amplifier, be ute to Coltrane as Joseph Jarman or Albert only category in which persons selective. There's a SUPRO Am¬ Ayler or Pharaoh Sanders, and for the no longer living are eligible. same reason, Phil Cohran and his Artistic plifier to fit your requirements, Vote for the artist—living or Heritage Ensemble were definitely inap¬ dead—who in your opinion has with an unlimited range of tone propriate. made the greatest contribution variations. Pianist Ken Chaney organized this con¬ to jazz. Previous winners are Ear-test SUPRO Super Sound be¬ cert, surely a difficult job; the show started not eligible. These are: Louis late, and I arrived later, in time to miss Armstrong, Glenn Miller, Stan fore you select your amplifier. Get Chaney’s trio spot entirely—too bad, Kenton, Charlie Parker, Duke the feel of massive design with because his brief chorus in Bunky Green’s Ellington, Benny Goodman, power and performance to match, set, later, called for more. Count Basie, Lester Young, Diz¬ at your command. But Anthony Braxton and Maurice Mc¬ zy Gillespie, Coleman Hawkins, Intyre were the second group. These two Billie Holiday, Bix Beiderbecke, A full range of SUPRO Amplifiers made perfect foils for each other: Braxton, Miles Davis, Jelly Roll Morton, and Accessories are waiting for a wildly luxurious altoist, and McIntyre, Thelonious Monk, Art Tatum, you at your SUPRO dealer. So a straightforward, economical tenorist, both Eric Dolphy, Earl Hines, John stop in and try SUPRO Super spoke the same Coltrane-like rhythmic- Coltrane, Charlie Christian, and Bessie Smith. Sound. You’ll be glad you did! harmonic language. These two, plus fluent bass and violin solos, were framed with 5. Miscellaneous Instruments: and matched to shifting tempos, ensemble This category includes instru¬ ! FREE GUITAR CATALOG improvisations, group themes—an un¬ ments not having their own VALCO GUITARS, INC. wieldy performance. category, with three exceptions: | 2201 WEST ARTHUR AVENUE From then on it was very good, very valve trombone (included in the trombone category), cornet, and ! ELK GROVE VILLAGE, ILL. 60007 bad, or very indifferent. Piano trios led by Louis Hall and Willie Pickens were or¬ fluegelhorn (included in the j □ Please send your new free full trumpet category). color Guitar Catalog to: derly, graceful, and professional, and noth¬ ing else. One interesting thing did happen: 6. Record of the Year: Select j Name_ sitter-in bassist Wilbur Ware still felt like only LPs issued during the last j Address_ playing after pianist Pickens and drummer 12 months. Do not vote for ! Cit*___ Vernell Fournier were done. Pianist Rich¬ singles. Include full album title ard Abrams came to Ware’s rescue, and and artist’s name. If your choice ! Hate_Zip Code is part of a series, indicate the two created a nutty blues, swapping which volume number you are threes and sevens and even dropping in a voting for. VALCO bit of Stravinsky-and-stride piano. Lots of good fun. 7. Make only one selection in each category. GUITARS. INC. Abrams’ own set was another story. His 2201 WEST ARTHUR AVENUE sextet incorporated the Roscoe Mitchell „ VOTE NOW! _. ELK GROVE VILLAGE, ILL. 60007 Trio and some of the ideas the trio had 44 □ DOWN BEAT used in a recent concert—the set seemed world already; gradually the volume rose; compressed (likely an “equal time” rule then, suddenly, drummer Thurman Barker was in effect for the groups), so what and bassist Charles Clark were playing a happened this time never quite jelled. spirited, if softly stated, fast—medium PLAY¬ For instance, Abrams began a marvelous piano solo, contrasting and matching left- Anderson then played a fluent, big- and right-hand melodic lines in an un¬ toned hard bop solo—“He hung out huge adorned, consistent rhythmic flow—and sides of lean, red beef,” as critic J. B. suddenly it was over. Altoist Mitchell at¬ Figi once described his playing. Jarman, MATES tempted to structure a solo in too-brief on alto, joined, making explosions of lyri¬ Dependable feature of a musician’s kit: sequences, and then trumpeter Lester cal fireworks freely and brightly through instrument accessories by Martin. Performance after performance, they Bowie finally did create a long, self-con¬ Anderson’s lines—a sequence more com¬ pelling for Jarman’s sweet music than for never let you down ... Martin’s tained statement, varying sound and phras¬ craftsmanship guarantees it. even the rhythmic excitement that was ing over a shifting tempo and ensemble Get Martin accessories wherever improvisation—a concisely spaced and generated. fine instruments are sold. varied work. The beauty of it was not only in Jar¬ Then Mitchell and Bowie led the group man’s unequaled virtuoso technique (few in ensemble improvisations, surprisingly can match his instrumental control, even spare and wistful, during which Mitchell in the overtone ranges). Even in a com¬ CLARINET SWAB presented a short series of variations on plementary role like this, each phrase is Coltrane’s Impressions; this strange, mov¬ sculptured to be complete in itself and ing—and excellent—set ended with Green- at the same time part of a larger design— sleeves, played straight. a long motivic variation, for instance, it¬ But then came Cohran and the Artistic self a sequential variation within the im¬ Heritage Ensemble. First Cohran told a provisation’s superstructure, all springing story about how he played against Col- from the opening motif, sparely detailed trane and Eddie Vinson in a “battle of the but highly suggestive. bands” somewhere in 1948 and how, 15 Pianist Christopher Gaddy played a years later, he stood for an hour waiting long, dissonant, excellently timed and to get into a club to see if Coltrane re¬ structured solo. Here is where the group’s membered “the little curly headed boy who virtues are best revealed: Gaddy’s very wore a turban and played the trumpet” romantic dissonances are one aspect of somewhere in 1948. His selling gimmick Cecil Taylor telescoped, and because of is to lecture audiences on some detail this the flexible, responsive Gaddy, rather from Every Boy’s Book of Negro History appropriately, tends to dominate the group and then play a ditty “based” on that sound. But bassist Charles Clark’s variety detail. This time he told a story about and rhythmic electricity are another singu¬ someone who was lonely, “and I’m sure lar wonder, and in this straight-ahead piece that sometime in his life, somewhere, Barker’s flashing decorations were quite Coltrane was lonely too.” Nice tie-in. perfect. Together they make an unusually CONFUSED ABOUT The song featured the line “let me go fine and complementary group. GU(TAR STRINGS? back home” sung in unison over and over. When they settled into Coltrane’s India, Since by now Cohran had equaled the over a slower tempo, Jarman breathed a Get the right type for your time taken by the other groups, he an¬ long-lined soprano solo, with each phrase, instrument! Ask your dealer nounced, “I always love to tell the story each rest so very precisely placed and for these famous brands: of the minstrel,” and then, by gum, he did. spaced, with bent notes contrasting with DARCO BLACK LABEL The “original” that followed offered “straight” notes and each so exactly artic¬ SERENATA • CAMPUS long solos by each of the 15 or 20 En¬ ulated. semble musicians, each solo based on the To conclude, Jarman read a poem over PUCCINI • GEMINI premise that the audience couldn’t hear Gaddy’s plaintive background. The title superior guitar strings any given phrase unless it was repeated at of Jarman’s set was Ode to John Coltrane, least half a dozen times—maybe so, since Master Musician, and it was the one com¬ conga drummers, honking saxophones, and pletely fulfilling event of the evening. electric thumb piano (!), guitar, and bass What did all of this mean? made it deafening. Well, the whole evening was a chance It takes considerable restraint to not go for musicians to hear each other again, into detail about this act, at least as much and for the Braxton, Abrams, and Jarman a social phenomenon as a musical one; groups, a chance to acknowledge their NEW KOMFORT KING by DEWEY (U.S.A.) the importance of Cohran is not to be various debts to Coltrane. Jarman’s per¬ underestimated, because a book could be sonal style, in fact, derives from Coltrane’s written on the sociological aspects of the mid-60s rhythmic and even structural ideas, performance—and not the least important and I suspect that at one time Jarman may factor was that it was in absolutely dead have even sounded a bit like Coltrane. seriousness. After this, it was a pleasure These are the best reasons for a musician to hear alto saxophonist Bunky Green’s to acknowledge Coltrane’s impact formally. modest, good-natured quintet rip through And for the audience, it was another Green Dolphin Street—drummer McCall, social affair at the country club, an excuse who had been a bit uneasy with the to visit and drink cocktails, so that Coh- Abrams group, now drove Green along ran’s group, the one band that played loud nicely. enough to pulverize all the chatter, got a The last spot was Jarman’s quartet, plus standing ovation. The drummer's throne with KING SIZE comfort. tenor soloist Fred Anderson, and somehow No doubt a number of other “Tributes Height from 20“ to 30". Block Nougohyde upholstry S39.75 everything that had happened before was to Trane” have taken place throughout the Drum matching sparkle colors S44.75 immediately forgotten. The typical, tempo- country by now; hopefully, all of them (Ideal (or Combo Organ & Piano too) less, mezzopiano opening, with the myriad At leading dealers had, as this one had, a few moments that CARPENTER COMPANY tiny bells and tinkling toys, was a different were genuine tributes. —John Litweiler October 19 □ 47 plus altoist Arnie Lawrence, played at STRICTLY Manhattan’s Carl Schurtz Park near Mayor Lindsay’s Grade Mansion. It was the first Our AD LIB time in 10 years that a jazz group has appeared in the concert series Music in the New York: Clarinetist Tony Scott re¬ Mayor’s Back Yard. The pianist and her cently joined the long-incumbent Elvin trio, with husband Stan Shaw on drums, Jones group at Pookie’s Pub . . . The Ro¬ began an indefinite stay at the Apartment ittle land Kirk Jam-happening, rained out Aug. Sept. 11 . . . Jonah Jones and his quartet 24, closed the Down Beat-co-sponsored Jazz opened at the Rainbow Grill for six weeks in the Garden series at the Museum of Sept. 5 . . . Recent guests with drummer Modern Art on the following Thursday. Joe Coleman’s quartet at the Star Fire Kirk, on tenor saxophone, manzello, strich, Lounge in Levittown, L.I., have been trum¬ )lack peters Jimmy Nottingham and Shavers, amplified clarinet, sirens, and chimes, led a jam session featuring Charlie Shavers, and clarinetist Jimmy Hamilton . . . The trumpet; Jaki Byard, piano, vibes, and ten¬ Long Island Jazz & Stage Band Lab, which or saxophone; Ben Tucker, bass; and Elvin meets every Tuesday night from 7 to 10 in Jones, drums . . . Mongo Sail tarn aria’s Long Beach, gave a concert on Aug. 28 in band played opposite Ornette Coleman’s that Long Island community . . . The quartet during the last of Coleman’s five Otto-McLawler Trio, with electric violin¬ weeks at the Village Gate. On Coleman’s ist Richard Otto, organist-vocalist Sarah will help closing night, Lee Konitz sat in with him. McLawler, and drummer Sam Cox, Nina Simone and Latin percussionist opened at the Lake Tower Inn in Roslyn, Montego Joe followed Santamaria and L.I., on Sept. 5 for an extended stay. Coleman at the club, while vibraharpist Johnny Lytle’s trio was held over through Los Angeles: Bola Sete followed the you win Oct. 1 at Top of the Gate . . . Ella Fitz¬ Gabor Szabo-Gary Burton booking for a gerald checks into the Royal Box of the two-week stay at Shelly’s Manne-Hole. Americana Hotel Oct. 17 for a three-week Sebastian Neto is still on bass; Claudio stay. . . Buddy Rich’s orchestra ends a Sion recently left Walter Wanderley to two-week voyage aboard the Riverboat on replace Paulinho on drums ... Lennie the Oct. 8; the bands of Ray Anthony and Sogoloff, major-domo of the off-Boston Larry Elgart comprised the doubleheader jazz club Lennie’s-on-the-Turnpike, swept preceding Rich . . . Erroll Garner was set into Los Angeles with a vengeance, squeez¬ to make a special appearance on CBC-TV ing every jazz room he could find into a cool from Montreal Sept. 30. There was also a three-night listening orgy. Aside from possibility at presstime that he would play catching a maximum of sounds, Lennie at the Youth Pavilion of Expo ’67. On was mainly embroiled in shop talk with Nov. 10 and 11, Garner will play with fellow club owners—Shelly Manne, How¬ war. the Milwaukee Symphony, and on Nov. ard Rumsey (John Levine’s second-in- 25, with the Baltimore Symphony. In early command at the Lighthouse), and Cary November, he is scheduled to take part in Leverette at Donte’s. While Manne was the Berlin Jazz Festival and also play in on equal footing in his own club, come Munich and Stuttgart . . . Sunday evening next April, the relationship will be strictly sessions are taking place at the Palm labor and management. Lennie has Shelly’s Gardens on West 52nd St. between 8th group penciled in for an April 2 open¬ and 9th Aves. Run by Matty Walsh of ing. (In Shelly’s group, trumpeter Conte Jimmy Ryan’s club and Max Cavalli Caudoli was on vacation; trombonist (“Max the Mayor”), the Oct. 1 kickoff Frank Rosolino was subbing.) Lennie also bash was scheduled to feature trumpeter seems to have lured Howard Roberts back Shavers and clarinetist Sol Yaged. Trum¬ to the east coast. Roberts’ group was at pets in tandem, with Roy Eldridge and Donte’s when Lennie walked in. Personnel: Inside is Echoplex, an echo cham¬ Wild Bill Davison, is the theme for the Tom Scott, reeds; Steve Bohannon, organ; ber that’s got every repeat there Oct. 8 program. Davison, recently returned Roberts, guitar; Chuck Berghofer, bass; is, including the kind that rolls out to the east after a long stay in California, John Guerin, drums. It is unlikely that into infinity. It's a reverb that has will play a gig at the Shearaton Motor Inn studio commitments would allow the group every switched-on reverberation in Groton, Conn. Oct. 13, and proceed to to go east intact, but this is the combo you ever heard, and that means the West Peabody, Mass., where he will be in that has been playing together for a num¬ wild, far-out sounds. And it’s even residence at Lennie’s from Oct. 16-22 . . . ber of weekends at Donte’s. As for the an instrument in its own right. It Doug Duke’s Place, a club run by organist- Lighthouse, Wes Montgomery’s combo has a built-in tape recorder. Put pianist Doug Duke on Lake Ave. in was the attraction. No chance of stealing two minutes of background or ef¬ Rochester, N.Y., has been the scene of them; they had just played Lennie’s. They fects on it, then play it back and much summer activity, and will continue were in the fourth week of their Light¬ play over it at the same time. Like special events through the fall months. house engagement and the club was still adding another instrument to a Recent attractions have included Eldridge, going strong—strictly SRO. In fact, Mont¬ combo. And we pack it all into a Teddy Wilson, and guitarist Charlie Byrd. gomery’s combo broke the all-time attend¬ little black box that’s only 13" w. x Charlie Shavers plays there Oct. 8 . . . ance record set last year at the Lighthouse 814" h.x8V8" d. Maestro Echoplex. Benny Goodman was awarded the keys to by Ramsey Lewis. Besides the Montgom¬ It swings. Swing with it. the city of Norwalk, Conn., when he ap¬ ery brothers—Wes, guitar; Buddy, piano; peared there in a free concert by the Lou Monk, bass—there were Billy Hart, drums, Williams Orchestra . . . Marian McPart- and Alvin Bunn, bongos . . . Conga drum¬ Maestro Iand played a concert at the Continental mer Big Black is now fronting his own Restaurant in Fairfield, Conn., in early octet and recently brought it into the Tropi- September . . . Soprano saxophonist Steve cana. Known as the Big Black African Echoplex Lacy’s quartet, plus Karl Berger on vibes, Octet, the personnel consists of Maurice A product of Gibson, Inc. did the sound track for A High Price for Spears, trombone; Howard Johnson, tuba (Electronics Division) Love, a film about sky diving to be re¬ and baritone saxophone; Herman Riley, Kalamazoo, Michigan 49007 leased soon . . . Pianist Lee Shaw’s trio, flute; Charles Mallory, guitar; Caiphus 48 □ DOWN BEAT Semenya, piano; Ron Marshall, bass; day nights. His former home, Bonesville, Blessing, vibes; Bill Plummer, bass; Billy Moore, drums . . . Terry Gibbs, is fluctuating between an on-again, off- Maurice Miller, drums . . . Nellie Lulcher who closed a successful month-and-a-half again music policy and when it is open, is finishing up a four-week engagement at gig at the Playboy Club, followed Howard cannot decide between jazz and rock. The Whittinghill’s, in Sherman Oaks, with her Roberts into Donte’s for a series of week¬ final night for Ellis’ band was SRO as trio . . . Eddie Cano and his quartet end stands. With Gibbs on vibes: Herb early as 8 p.m. Featured guest was Louis moved from the Lemon Twist to the 940 Ellis, guitar; Ray Brown, bass; Ed Thig¬ Bellson. Ellis will be going to Europe Club . . . The A1 Reece Trio moved into pen or John Guerin, drums. It will come for two weeks in November to conduct Sneeky Pete’s as Art Graham moved his as no surprise to learn that Steve Allen local ensembles in special material he is trio over to the Little New Yorker . . . sat in with Gibbs during the Playboy stint preparing. One of the groups he’ll conduct Willie Bobo followed Ahmad Jamal into . . . Gibbs will also be included in the new is called the Berlin Dream Band. Ellis the Lighthouse, and Oscar Peterson just fall series taking place in the Pilgrimage is also writing a piece for his band and completed a gig at the Hong Kong Bar of Theater. The success of the summer series the Los Angeles Philharmonic Orchestra the Century Plaza Hotel . . . The Golden encouraged the Los Angeles Board of to be conducted by the Philharmonic’s Bear at Huntington Beach—ordinarily the County Supervisors to expand the free music director, Zubin Mehta . . . Another home of folk music—recently presented Sunday matinees in the outdoor amphi¬ bassist switched momentarily to sitar for the Charles Lloyd Quartet for six nights theater. The series began with Emil Rich¬ a gig in Oakland: Hersh Hamel, with Art . . . Disneyland presented a one-nighter ards’ combo, Sept. 17; followed by Gill Pepper’s quartet. Rounding out the group: featuring Louis Armstrong, Teddy Buck¬ Melle and his Electronic Jazz Quartet, Dick Whittington, piano; Jerry Granelli, ner, the Young Men from New Orleans, Sept. 24; then Don Ellis and his band, drums; former altoist Pepper is still playing Doc Souchon, and the Firehouse Five Oct. 1. Remaining in the series: Shelly tenor saxophone most of the time . . . It’s Plus Two. After the orgy of traditionalism, Manne and his Men, Oct. 8; Tommy not every singer that earns a Festwoche. Armstrong was scheduled to appear (Oct. Gumina and his quartet, with singer Gwen Nancy Wilson did, and from Siid-Deutscher 18) at the Ilikai in Honolulu . . . British Stacy, Oct. 15; Gibbs’ quintet, Oct. 22; Rundfunk, yet. Miss Wilson enjoyed a Dixielander Kenny Ball and His Jazzmen a doubleheader on Oct. 29, featuring the week-long salute over the South German stopped off in Garden Grove on their way Clare Fischer Trio and the Victor Feld¬ Radio network in Stuttgart. The network to New Zealand to play at the Fire Station man Trio; and finally Gerald Wilson and programmed one Nancy Wilson selection Inn for two nights, sharing the stage with his orchestra, Nov. 5 . . . Tom Scott, each hour during the festival week. Domes¬ Sonny Helmer’s Ragtimers. In addition multi-reed man formerly with Don Ellis, tically, Miss Wilson was recently honored to Helmer, Beatrice Kay is now a regular lately with Howard Roberts, has signed a by NATRAS as “top female jazz vocalist.” attraction there on Thursdays and Fridays three-year contract with Impulse. Also Miss Wilson just signed the Three Sounds . . . Bobbie Douglas, expatriate British signing with that label: bassist Bill Plum¬ to accompany her on her fall campus tour Dixieland clarinetist, has left Los Angeles mer. His first album, however, will find . . . Tommy Peltier and his Jazz Corps to take up permanent residence in New him playing sitar. Plummer recently taught worked a One-nighter at the Ice House in Orleans . . . The Ambassadors—local actor Peter Sellers how to play sitar . . . Pasadena. Featured Corps-men are Peltier, 15-piece orchestra—played a special going- Ellis found a new home for his 20-piece trumpet and fluegelhorn; Fred Rodriguez, away dance for its organizer, Ed Green¬ orchestra: Shelly’s Manne-Hole on Mon¬ tenor and alto saxophones, flute; Lynn wood, at the Elks Ballroom . . . Bill Fritz

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October 19 □ 49 —reed man for Stan Kenton, and faculty Stanford University . . . Trumpeter Kenny backing for Frank Sinatra in his Septem¬ member at California Institute of the Arts Ball and His Jazzmen shared the bill with ber'engagement at the Sands. Because of (where he teaches jazz ensemble and jazz Turk Murphy’s combo Sept. 12 at Earth¬ throat trouble, Sinatra was forced to take composition)—just conducted a week-long quake McGoon’s . . . Don Ellis’ orchestra things easy, vocally, and Sammy Davis Jr. writers’ clinic at Fresno State College . . . played a one-nighter in Oakland’s Gold teamed up with him for the first few In other academic matters, free-lance jazz Nugget. Shelley Manne and His Men shows. The Rich band was featured at writer Charles Weisenberg is giving a and pianist-singer Bobby Troup performed length, and received enthusiastic response course called “Jazz: An American Experi¬ there two nights each . . . The Tijuana from the standing-room-only crowds . . . ence” as part of the University of Califor¬ Brass and Brasil ’66 gave a concert in Also at the Sands, in the Celebrity Theater, nia extension program. The course includes Oakland’s new arena . . . Little Richard Count Basie and band were in for a three- weekly lecture-discussions illustrated by performed at Concord’s coliseum . . . Jon week booking. Sonny Payne, with some recordings . . . The Gene Russell Trio Hendricks shared the bill with comedian time off from the Harry James Band, was (Russell, piano; George Morrow, bass; Allan Sherman at the Hungry i . . . back on drums with Basie, while pianist Clarence Johnston, drums), who just Pianist Vince Guaraldi drew big crowds Rudi Eagan guided the band through ar¬ played two nights at the Brass Ring in in his two-week engagement at C’est Bon rangements for singer Marlena Shaw . . . Sherman Oaks, guested on a new show and was held over for another two weeks At the Sahara, Nancy Wilson opened a called Groovy, produced by an independent . . . Pianist Jean Hoffman initiated a four-week engagement using arrangements station, KHJ-TV . . . Bob Corwin, who series of Monday night appearances at the by Billy May and Allyn Ferguson. Di¬ fronts one of the house trios at the Play¬ Trident in Sausalito . . . Drummer Dick recting the orchestra was pianist-conductor boy Club, has been named entertainment McGarvin (bassist Terry Hilliard; pianist Donn Trenner, with bassist Buster Wil¬ director for the local bunny hutch, replac¬ Ed Kelly) is performing Sundays at El liams and drummer Mickey Roker in the ing Joe Parnello, who left many moons Matador, in addition to his Monday ap¬ rhythm section. The Doodletown Pipers, ago to become Vic Damone’s music direc¬ pearances at C’est Bon . . . Old Town, a also on the bill, joined Miss Wilson at the tor .. . Neal Hefti just recorded his score complex of shops and restaurants in Los end of each show . . . Tenorist-composer for Universal’s New Face in Hell. 20th Gatos, includes a 500-seat theater which Raoul Romero began rehearsals of another Century’s Star just used trumpeter Jake recently showcased Cal Tjader and Bola big band, with arrangers Herb Phillips Porter’s Dixieland combo for a sequence Sete. The house band at Old Town is the and Rick Davis as well as Romero himself . . . Russ Freeman has written some spe¬ Los Gatos Quatro, led by Dave Hoffman. contributing to the book. cial charts for Diana Darrin’s new club act. Oliver Nelson is doing the same for Lena Horne. In addition, he’s scoring a Detroit: One of Detroit’s finest jazz Boston: Organist Jimmy McGriff and number of episodes for the new TV series, groups is without a home since bassist his trio, featuring guitarist Thornell Ironsides. Ernie Farrow pulled his group out of Schwartz, played the Jazz Workshop for Eddie’s Latin-American Restaurant. Farrow a week. Tenorist Eddie Harris followed, hopes to take his group on the road . . . backed by the Joe Beck-Mike Mainieri Trombonist George West, formerly with Trio (Beck, guitar; Mainieri, vibes; Lyn San Francisco: The Both/And, in an Woody Herman and Kai Winding, has Christie, bass; Jim Cappes, drums) . . . effort to ease the pinch on the fan’s pocket- taken over the Michigan State University Vocalist Helen Forrest did a week at book and to bring more listeners into the Jazz Lab Band . . . Another valuable ad¬ Paul’s Mall with the Rollins Griffith Trio. club, has made available a cut-rate mem¬ dition to the Lansing scene occurred when She was followed by a newcomer to the bership card. The card, priced at $10, is baritone saxophonist Les Rout joined the Boston jazz scene, Roberta Peck, backed good for 15 free admissions to the Both/ MSU faculty ... On Lansing radio, Bryan by Dave Blume, piano; John Neves, bass; And at any time. Singer Bobby Blue Rublein has taken over Bud Spangler’s and Jeff Brillinger, drums . . . Pianist- Bland will be at the club Nov. 2-5, and Jazz Horizons show on WKAR ... At the vocalist Mose Allison was featured for a organist Jimmy Smith will play for a University of Michigan, Labor Day week¬ week at Club 47 with bassist Tony Eira week starting Dec. 12. September and end featured two extremes of jazz, with and drummer Alan Dawson . . . The big October saw some of the best musicians concerts by Louis Armstrong and a “free” band sound of Buddy Rich and his 16 on the modern scene at the Both/And, in¬ group led by flutist Art Fletcher. Fletcher’s pieces was heard for two weeks at Lennie’s cluding Miles Davis, John Handy, the group also can be heard at Clint’s Club, on the Turnpike . . . Jazz on Channel 2 Modern Jazz Quartet, and Wes Mont¬ formerly the Midway . . . The Drome recently featured Mose Allison, Roberta gomery. The John Coltrane Memorial returned to a name group policy in Sep¬ Peck, and Eddie Harris. Workshop continues on Sundays . . . The tember, starting with bagpiper Rufus Har¬ fourth annual Mt. Tamalpias jazz concert, ley’s quartet. For trumpeter Willie Wells’ Oct. 8, is scheduled to spotlight Duke last weekend at the club, Doug Hammon A memorial concert was Ellington’s band and Bola Sete’s trio replaced James Youngblood on drums. A Cincinnati: held Aug. 20 for the benefit of the fam¬ (bassist Sebastian Neto, drummer Clau¬ guest was Aretha Franklin’s bassist Rod ily of trombonist-vocalist Monte Tabbert, dio Sion) . . . Dave Brubeck’s quartet Hicks . . . Pianist-vocalist Barbara Logan killed in an automobile accident earlier will be at Cal State in Hayward Oct. 14. has left Pier One. Her replacement on in the month. The concert was organized The concert precedes an extensive Euro¬ piano is Charles Boles. Bassist Willie pean tour by the quartet . . . Sitarist Nik- Green has taken over leadership of the by Terry Moore, Jim McGary, and Alex hil Banerjee (Mahapurush Misra, tabla; group. Sidemen include tenorist Maurice Cirin, and featured the groups of Gene Mayl, Dee Felice, McGary, Cal Collins, Ashish Khan, tamboura) gave a mid- Hooks and drummer Drew Evans . . . September concert in the San Francisco During vocalist Mark Richards’ illness, Lee Stolar, Carmon DeLeone, John Veterans Auditorium. The performance pianist Keith Vreeland’s trio became a Wright, and the L&M Big Band. Emcees was sponsored by the Society of Eastern quartet with the addition of vibist Dick were disc jockies Ray Scott, Dick Pike, Arts . . . Two days later, the New Orleans Taped . . . The current drummer with Oscar Treadwell, and Ty Williams. The Jazz Club held an outdoor picnic-concert organist James Cox’ trio at the Hobby music began at 3 and continued until mid¬ in Guerneville. Featured were Ted Shafer’s Bar is Bobby Lewis . . . Free concerts at night . . . Three Cincinnati jazz groups Jelly Roll Jazz Band (cornetist-vocalist the Michigan State Fair have included one were presented in concert in conjunction Ray Ronnei; trombonist Bob Mielke; by Sergio Mendes’ Brasil ’66 and one with the Cincinnati Symphony’s Summer clarinetist Phil Howe; bassist Squire featuring singer Buddy Greco with the Festival. Opening the concert was the Girsliback; drummer Vince Hickey, and Buddy Rich Band. Dave Engle Trio, currently appearing at banjoist Shafer), and the Chicago Ram¬ the Playboy Club. Working with pianist blers (cornetist Bert Barr; trombonist Engle were bassist John Parker and drum¬ Jim Snoke; saxophonist-cometist Mark mer DeLeone. The John Wright Quintet, Drunosky; tubaist Tom Jacobus, and Las Vegas: The big band of Buddy working nightly at Herbie’s Lounge, fol¬ banjoist Larry Risner) . . . The same Rich, augmented by the string section of lowed, with Wright, tenor and soprano day, Louis Armstrong gave a concert at the house orchestra, provided powerful saxophones; Rickey Kelley, normophone; 50 □ DOWN BEAT Sam Jackson, piano; James Anderson, bass; and Bobby Scott, drums. Tenor saxophonist McGary’s quartet (Ed Moss, piano; Lou Lausche, bass; Dave Frerichs, drums) currently appearing at the Blind Lemon, closed the program . . . Herbie’s Lounge will present the Woody Evans Trio this fall, followed by Sonny Cole’s group . . . The Living Room Supper Club continued a name jazz policy throughout the summer and early fall. Lionel Hamp¬ ton, Erroll Garner, George Shearing, Ramsey Lewis/Jack Sheldon, and Groove Holmes have made recent appearances . . . Drummer Jimmy Madison recently joined Lionel Hampton. Madison formerly worked with trumpeter Don Goldie.

Seattle: Charles Lloyd and his quartet are booked Oct. 7 and 8 at the Eagles Auditorium opposite a local rock band, the Magic Fern, with a light show. The event is co-sponsored by the Seattle Jazz Society. The John Handy group was also at the Eagles last month, opposite the Youngbloods. Both Lloyd and Handy gave concerts at the University of British Columbia in Vancouver, Canada . . . Singer Ernestine Anderson has returned home from three years in Europe and England . . . Roland Kirk’s quartet ap¬ peared at the Penthouse last month, fol¬ lowed by the Miles Davis Quintet, the Oscar Peterson Trio, and from Oct. 12 through 21, Bola Sete . . . The Colony Club held Sunday sessions with vocalist Jo Miya, tenorist Gerald Brashear, pianist Lee Anderson, bassist Rufus Reid, and a promising drummer, Tommy Henderson . . . Joe Williams and the Harold Mabern Trio played the Olympic Hotel’s Marine Room late in August ... A driving local down beat* blues group opened at D-J’s last month, led by guitarist Joe Johansen, with tenor- ist-flutist Bob Krause, organist Buck Eng¬ land, and drummer Chip Hayes . . . The has a worldwide news¬ Grateful Dead and the Peanut Butter Conspiracy were at the Eagles last month gathering organization . . . Diana Ross and the Supremes are appearing in Eugene, Ore., Oct. 22, and of 43 people keeping in Spokane, Wash., Oct. 29 . . . The Seattle Coliseum was the scene of recent appear¬ its readers informed ances by the Jefferson Airplane and Donovan . . . The Checkmate opened its of music news wherever first Sunday set with the George Siegel Big Band, a 16-piece group including it happens. Floyd Standifer and Ed Lee, trumpets; Bill Brown, tenor; George Griffin, drums, and Lee Anderson and Rufus Reid com¬ "Besf Book Ever Seen In Enfire Life!" pleting the rhythm section. Mr. FRED ELIAS . . . from Omaha, Nebraska 1. Former student of the late HERBERT L. CLARKE. 2. Former CORNET SOLOIST with U.S. NAVY BAND. 3. Former TRUMPET SOLOIST with OMAHA SYMPHONY Toronto: Two founding fathers of be¬ ORCHESTRA. bop were in town at the same time recent¬ 4. Famed originator of the ELIAS BUZZ SYSTEM, method ly: Thelonious Monk at the Colonial, and of teaching brass players. Dizzy Gillespie at the Town. With the Mr. Fred Elias has this to soy: pianist were Charlie Rouse, tenor saxo¬ "Your music book, 'DOUBLE HIGH C IN 37 WEEKS', Is the BEST BOOK ON TRUMPET phone; Larry Gales, bass; and Ben Riley, PLAYING I HAVE EVER SEEN IN MY ENTIRE LIFE! You can't help from being good if you drums. The trumpeter’s men included sax¬ ophonist-flutist James Moody; Michael ORDER YOUR 3RD EDITION Longo, piano; Russell George, electric MUSIC BOOK NOWI ! HIGH NOTE Fn bass; and Candy Finch, drums . . . Prior "DOUBLE HIGH C ! STUDIOS, INC. Nt (print) to Monk’s engagement, tenor man Illinois IN 37 WEEKS” ® ! P.O. BOX 428 S" Jacquet and organist Milt Buckner ap¬ This $25.00 value i HOLLYWOOD, ^ peared at the Colonial . . . Percy Faith Hill only $9.95 ! CALIF. 90028 Ditpald. No C.O.D. shared conducting duties with Howard October 19 □ 51 Cable at the annual two-week Canadian National Exhibition Grandstand show. The 60-piece orchestra, which included several Classified Ads members of the Toronto Symphony, also featured jazz musicians Peter Appleyard, Carol Britto, Phil Antonacci, Guido Bas¬ 3, Address, City and Slat* Today's chic' hi-hat sound is so, Butch Watanabe, Rob McConnell, PASHA. and Ray Sjkora. You'll like the sounl and the price. Com¬ Norway: Karin Krog has been engaged r, ENCYCLOPEDIA OF JAZZ (IN THE SIXTIES) to sing at the Berlin Festival (Nov. 3-5) —JHO.OO 1960 Edition—$4.95, Georao R„«„ll, pare with the ones {that cost twice as LYDIAN CHROMATIC CONCEPT . with the Don Ellis Big Band. After Berlin, much. Brilliant. Resonant. Responsive. Jamey Aebersol ' she will do a concert with the Danish SATION (36 [ See yoiir dealer. IMPROVISING JAZZ—$1.95. Gordon _ Radio Orchestra directed by lb Glinde- MODERN HARMONIC TECHNIQUE, VOLS. I, II— man . . . The student city at Sogn, Oslo, $12.50 each; MODERN ARRANGING TECHNIQUE —$12.50; Three Delomont volumes— $33.33. John TROPHY MUSIC Cd opened their jazz club Sept. 10 with trum¬ Mehegan; JAZZ IMPROVISATION, VOLS. I, IV— 1278 West 9th Street, Cleveland, Ohio 44113 peter Per Borten’s Swing Department, $15.00 each; VOLS. II, III—$12.50 each. Four Mehegan Volumes—$49.49. Phil Rizzo, THEORY Ltd., a new Norwegian swing band, with (METHOD & WORKBOOK)—$7.50; FIRST STEP TO whom Roland Kirk asked to sit in both IMPROVISATION—$3.50; SPREAD CHORD VOICING —$3.50; SCALE VARIATIONS—$2.50; EAR TRAIN¬ times he visited Norway. Borten has the ING—$2.50; Five Rizzo volumes $17.50. Russ same name as the Norwegian prime min¬ Garcia; PROFESSIONAL-ARRANGER COMPOSER (4th ister, hence the band’s name. Ben Webster printing)—$5.00. Henry Mancinl, SOUNDS & SCORES (Three 7" LP's) $15.00. Schaeffer/Colln, SCALES EN¬ also was happy with this band and sat in CYCLOPEDIA—$7.50. John LaPorta, STAGE BAND one evening in Molde. Borten is also owner COURSE (22 Vols.)—$75.00. Joe Violo; SAXO¬ PHONE SCALE STUDIES—$4.00; CHORD STUDIES of a shipping line. The club, open every $4.00. Yusef Lateef, BLUES FLUTE SOLOS—$2.50. Sunday, plans to engage trumpeter Rolf Herbie Mann, FLUTE JAZZ—$2.00. Buddy DeFranco, CLARINET STUDIES—$5.00. Kotwica/Vlola, TRUM¬ Ericson before his return to New York, PET CHORD STUDIES—$4.00. Panlco/Wlsklrchon. and also tenorist Bernt Rosengren, who STAGE BAND TRUMPET MANUAL—$4.00. Phil Wil¬ son: TROMBONE CHORD STUDIES—$4.00. Neal has moved from Sweden to Denmark, Heftl, PIANO ORIGINALS—$2.50. Bill Evan. Trio, where he joined the radio big band . . . PIANO THEMES—$2.50. Billy Taylor, JAZZ TRIO George Russell gave a superb concert with SKETCHES—$2.50. Jim Progris, BERKLEE KEYBOARD his 17-piece band at the Aulaen, with Brian Trentham, trombone; Rupert ERN DRUMMERS MANUAL—$4.00. Andy lallno, DRUM SIT-IN (Parts/LP)—$4.95. Bill Curtis, MOD¬ Clemendore, conga; Bengt Hallberg, ex¬ ERN STRING BASS METHOD—$4.00. Bill Leavitt, tra pianist; other Swedish musicians, and BERKLEE MODERN GUITAR METHOD VOLS. 1 & 2 —$4.00 each. Laurlndo Almeida, GUITAR TUTOR two Norwegians, tenorist Jan Garbarek $5.00. JOBIM FOLIO—$2.50; BYRD PLAYS JOBIM and drummer Jon Christensen. Christen¬ —$2.50. Charlie Christian, ART OF JAZZ GUITAR —$2.00. HOW TO PLAY BLUES GUITAR (Book/LP) sen received the Buddy statuette as best —$3.95. Ivor Mairants: FLAMENCO GUITAR— Norwegian jazz musician of the year. He $10.00. Chierlci, 2400 GUITAR CHORDS—$5.95. also plays with the Polish Namyslowski CHANGING Quartet, and will take part in the Warsaw with order. FREE WORLD WIDE POSTAGE (Handling Festival in October. orders under $4.00, U.S.A. add 35c, foreign add 60c. Records shipped abroad, add $1.20 per ship¬ YOUR ment.) TODAY'S MUSICI Box 169-D. Llbertyvllle, ADDRESS? Australia: Australia’s first psychedelic jazz concert, promoted by Donald West- If you are plan- lake, a member of the Sydney Symphony : ATTACH ! Orchestra, was held at the Cell Block theater in East Sydney. Musicians included please let us know ) LABEL { i HERE ;■ John Sangster, pianist Judy Bailey, and MISCELLANEOUS five weeks before New Zealand trombonist Bob Mclver. O PROFESSIONAL COMEDY LINES! FORTY BOOKS. you change your Major work was a 45-minute original, TOPICAL GAG SERVICE. CATALOG FREE. SAMPLE Psychedelia, by 24-year old tenor player SELECTION, $5.00. ORBEN PUBLICATIONS, 3536 address. All you DANIEL, BALDWIN, t Graeme Lyall. Pianist Lewis Lederer, need to do is fill Public Affairs officer for the United States RECORDS & TAPES in this form and Information Service, attended the concert, attach the ad¬ at which lighting and special effects were ist. MODERN MUSIC, Box 4935—4930 DELMAR, directed by sculptor Gordon Mutch . . . iT. LOUIS 8, MO. dress label from The Ray Charles Band performed four this- issue of Down Beat. concerts in Sydney to an average attend¬ TIE CREEK, MICHIGAN. ance of 3,000. Pianist-organist Billy Pres¬ Please include your Zip Code. ton received standing ovations at each con¬ WHERE TO STUDY cert . . . Adelaide pianist Bohhy Gebert JIMMY GIUFFRE. Private Instruction. Jc NEW ADDRESS: did a tour of New Zealand with bassist Andrew Brown and drummer Frank Gib¬ "COMPOSERS”. son, Jr. . . . Altoist Charlie Munro has been approached by “Ballet Australia” choreographer Ruth Galene to write an ADDRESS original jazz score. Phillips records has HERE NOW! and NEW! announced late October as release date of Munro’s latest LP, Eastern Horizons . . . “MAYNARD FERGUSON” The Australian Performing Rights Music MOUTHPIECES STATE ZIP CODE Foundation sponsored an LP of original For Trumpet, Cornet, and Flugelhorn. jazz compositions, featuring groups led by FERGUSON, BELL LIMITED down beat. John Sangster, Bernic McGann, Don Bur¬ (Directors: Jack Bell, managing/ rows, and Judy Bailey, which will be re¬ Maynard Ferguson, technical) leased on the CBS label next month. BRADFORD 1 52 □ DOWN BEAT The following is a listing of where and when jazz performers are appearing. The listing is subject to change without notice. Send information to Down Beat, 222 W. Adams, Chi¬ cago, III. 60606, six weeks prior to cover date. LEGEND: hb.—house band; tfn.—till further notice; unk.— unknown at press time; wknds.—weekends.

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