Chicago, June, 1939 record reviews DOWN BEAT 21

end, where he has backed up muted Percy Faith to N. Y. New Records— brass on the melody with a swingy (Continued from page 20) sax figure. Later on the melody Toronto—Percy Faith, composer, goes to clarinet and tenor with conductor, arranger and instru­ trombone in Never Had a Reason is brass figures. You’ll be needing this mentalist, has signed with Dr. especially significant of the era. one. Frank Black of NBC to appear six Artie Shaw times as guest conductor of the WHAT IS THIS THING NBC ork in New York City. Faith ONE FOOT IN THE GROOVE and CALLED LOVE—Harms, Arr. by will retain his summer position ONE NIGHT STAND, (Bluebird). Jerry Gray. This is Artie Shaw to with the CBC here. Buddy Rich’s annoying rim shots a “T.” It is u kick to hear the spoil this issue. rhythm section stick through be­ Artie’s band still has a tinny, me­ hind a simple first chorus of muted Three Bonds Open Pier tallic sound which tends to become brass with no involved background Atlantic City—Tommy Dorsey, monotonous. One Foot is noteworthy figures to clutter up the effect. This Horace Heidt and George Hall, because of solos by the young Bob orchestration is almost identical with their bands, were on deck Kitsis, whose pianologics have a with Shaw’s record arrangement of Memorial Day when the Steel Pier definite Earl Hines flavor; George the same tune, though the clarinet opened for its forty-second season. Auld, whose “honk” mannerisms on is not as promiscuously featured. tenor add a certain amount of guts The second ensemble chorus is to Jerry Gray’s arrangements, and, really fine and a lot can be made of course, Artie. One Night sounds out of it by building up a terrific a lot like Basie’s One O'clock Jump, crescendo on the descending chords. and again it’s Kitsis who, for the Hard to explain, but you’ll get the first time on wax, displays real tal­ idea. The clarinet and second trum­ ent on piano. Catch the surprise pet have hot solos. Don’t take this ending on One Foot; its novel, al­ one too fast—a medium rock ia just beit loud. Richs drumming can be about right. tasty, but you’ll have to check other JUST STROLLIN’—Feist, Arr. Shaw releases for a sample. I like by Bob Haggart. This is one of these solely for Shaw’s and Kitsis’ those fine boogie-woogie romp tunes passages. Time Out for grub. John Trotter taken a big helping of vittlee by Joe Sullivan. Having heard the Carmichael Album while Skinnay Ennis, left, and Claude Thornhill, with bell, await their record, you know that the piano is turn. Skinnay *s band is currently at the Victor Hugo in L. A.; Trotter featured a good deal with other in­ WASHBOARD BLUES, LITTLE strumental solos merely filling in OLD LADY, BONE YARD SHUF­ keeps busy with Bing Crosby’s commercial, and Thornhill knocks out eight bars apiece here and there. FLE, GEORGIA ON MY MIND, arrangements daily. RIVERBOAT SHUFFLE, STILL Bob Haggart has no peer in this type of arranging and he does his OF THE NIGHT, STAR DUST, Ha nah and The Way I Feel Todag; a Blue­ harp, ban, viola; results are discouraging bird reissue and one of the best Victor has to further attempts along thi* line; Glenn usual swell job. ONE MORNING IN MAY, ROCK­ yet released on its 85-cent label. What puz­ Miller elicks solidly with Wishing, Three IN’ CHAIR, LAZYBONES, MOON zles me is the fact that Waller’s name isn't Little Fishies, The Chestnut Tree. And the UNDECIDED — Leeds Music, COUNTRY, LAZY RIVER, all even mentioned on the label with the others, Angels Sing, and My Last Goodbye, all on Arr. by Vic Schoen. Benny Good­ and neither It Lonnie Johnson's on banjo. Bluebird. The last tune, written by Eddie man, in his new autobiographical (Decca). Hawkins’ solos are average for Hawk, yet Howard of Diek Jurgen*’ band, is top tune Mixture of good jazz with com­ there are kicks in those and the vocal* by of the month in Chicago and probably will book, tells of having picked up this mercial dance music. Redman, a* well aa Sidney DePans’ trum­ take hold elsewhere thi* rammer. tune from the John Kirby band petin*. This practice of reissuing gems like Another record company, the U. S. group while it was playing at the Famous Casa Loma is the band; assist­ these two sides is most encouraging, in fact, headed by Eli Obentein, will be in the field ance is lent by Louis Armstrong, the nuts. Let’s have more from Brunswick next month. Door. It was written by Charles the Merry Macs and Hoagy Carmi­ and Decca, as well as Bluebird. R. P. C. Shavers, the trumpet player in chael himself. All the tunes are by BARRELHOUSE DAN. Kirby’s band. Vic Schoen, who is Hoagy. Louis’ and Pee-Wee Hunt’s Blu* Note Specials looming as another Larry Clinton, vocal duet on Lazybones is a high­ Mighty Blues and Rocking the has done a nice job on this stock light, and Louis plays an exception­ Blues, by the Port of Harlem Jazz ORCBESTRATION arrangement. Even the first two al solo in Rockin’ Chair. Sonny Men; Weary Land Blues, by Hig- REVIEW double bar choruses are well written Dunham repeats his Memories of Sinbotham’s Quintet, and Daybreak The first features unison clarinets RECOMMENDS THE You trumpet style on Georgia, but lues, by Newton’s Quintet, all on on the melody with a muted brass its inferior to Memories. The big Blue Note Records. riff background. The verse at C COMMITTEE II kick of all is Murray McEachern’s Another successful session. By Tom Herrick is for full ensemble and is followed by a second trumpet solo at D. The alto work on Georgia and Rockin’ Granting that too many per­ SAXOPHONE Chair; he also gets several good BACH GOES TO TOWN — last two choruses aro unison sax MARTIN formances of the blues have been Sprague-Coleman, Arr. by Gene sliphorn demonstrations in. Kenny issued in recent weeks, and that with brass figures. Sargent, Grady Watts and Clar­ and Richard Von Hallberg. This is PENTHOUSE SERENADE — the market is pretty well glutted the most unusual stock arrange­ ence Hutchenrider also are fea­ Famous Music, Arr. by Vic Schoen. He says, ”ln teaching and playing I with same, I can’t help but recom­ ment to come to my attention to tured thruout, but I am afraid It is nicely adaptable to a swing have found that my new Martin has mend these. The first two titles oc­ date. Alec Templeton’u Bach-like Louis is most satisfactory of all. arrangement. The first two are reg­ everything.. . superior intonation, tone cupy 12 inches: the latter two are fugue in swing tempo is one of the Hoagy sings Lady and Washboard, ordinary size. Neither disc is ordi­ ular melody repeat choruses fol­ most delightful bits of novelty quality, and a remarkable flexibility but I prefer his earlier Victor re­ lowed by a brief interlude at D and nary from a performance stand­ dance music ever released. It will which 1 have not been able to find in cord, with Whiteman, on the latter. point, however, for the groups a second trumpet solo, ad lib, with never be a swing classic—it’s not any other horn,” Nevertheless, despite the shortcom­ (each comprised of the same art­ sax background. E and F are en­ intended to be, but it’s so refresh­ ings, Casa Loma and company have semble choruses with brass and ists) include Frankie Newton’s ing that it will appeal to any fl Now is rhe time to trade in your produced a dozen sides well worth saxes changing off on the melody. trumpet, J. C. Higginbotham’s musician. Templeton has given his old sax and give yourself the inspira­ adding to any collection of present­ trombone, Albert Ammons, piano; Very solid. day jazz. And if the budget will conception of the way in which tion and prestige of playing this new Big Sid Catlett, drums; Teddy Martin. Designed by musicians ... for allow an expenditure for only one Bunn’s guitar, and John Williams’ Bach might have fitted into the Also Recommended swing picture were he alive today, disc, buy Lazybones and Rockin’ bass. The solos are 18-karat, the GARDENIAS — Lincoln Music, musicians, it is recognized as the and the arrangement is excellent. Chair, paired together. tempos are fight, and the atmos­ Arr. by Spud Murphy. world's finest, most modern saxo­ Why doesn’t Decca allow Hoagy It is amazing that the arranger phere proper. Best of the four is A NEW MOON AND AN OLD phone. See your local dealer or drop to make more sides on his own T Rockin’, with Ammons pounding was able to make his orchestration us a card today and arrange to try on?. flexible enough to be played by SERENADE—Irving Berlin, Arr. Lionel Hampton out his soul gloriously. If only a by Helmy Kresa. Hawkins or Berry or a Young could either a large or small group with SWEETHEARTS ON PARADE, have set in on these with a tenor! corresponding effectiveness. LITTLE GENIUS—A.B.C., Arr. MARTIN DENISON SWING, HIGH SO­ Without one, they lack that spark AND THE ANGELS SING— by Helmy Kresa. CIETY and WIZZING THE WIZZ, which would make them impec­ Bregman, Vocco & Conn, Arr. by VARIETY IS THE SPICE OF BAND INSTRUMENT CO. (Victor). cable. Just the same, both records Charlie Hathaway. Ziggie Elman, LIFE—Robbins, Arr. by Larry Not Hampton’s best. are standouts. I hope Blue Note first trumpet man with Benny Clinton. Dept. 689 ELKHART, INDIANA On Sweethearts Lionel attempts leaders continue to issue sides as Goodman, and Johnny Mercer have to sing—disastrously. But his vibe righteous and uncommercial as collaborated in writing this. It work and Chu Berry’s tenor are their first eight (two Ammons and doesn’t sound like anything we ever noteworthy. On Wizz and Denison two Lux Lewis solos were issued heard Ziggie play, but it’s a nice Lionel plays more 2-fingered piano, last month) have proved to be. lilting melody and is cleverly lightning .fast but purely exhibi­ (Thea. wer* received too late for Inelu- orchestrated by Charlie Hathaway, tionist, and therefore not good jazs. •ion in “beat aoloa of the month.” But for especially at C and through to the th* record*, Newton, Hig, Ammon* and High Society is the best of the four. Bunn contribute Individual work which Each side has a different personnel, •hould be included in the list.)—B. D. but Victor obligingly prints each on the labels. Hampton has made many sides preferable to these. Commercial Discs T/LT1NG\Ï Recommended OZZIE NELSON, whole band has a punch too many commercial combinations RIM lack, play* and M MILDRED BAILEY’S vocal« on Lowfo • Wavoas-Stick Blues Ever So Necmoarg Thing, Tain’t What Ye Do, Qutet on Bluebird; Tommy Dorsey’s May Amulng result«, improved tone, Shmbortime Along tho Swanoo and 1 Can output i* of the non-jass type; titles include 'added rente. No more ion Upe, Read Between tho lAnn. with JOHN KIR­ Asleep or Awake, If You Ever Change Your muscle strain, Why struggle BY'S band. Billy Kyla’s piano talent equals Mind, To You and Thio la No Dream, all kith a riti mouthpiece ! la Bailey’s sinking Victor; Casa Loma clicks well, too, with I FITZAU* style . . . CHARLIE Won’t Believe It, Could Bo, Sunrue Sere­ . BARNET’S Scotch nade and Heaven Can Wait, all Decca; Nan A Soda and Echoes Wynn, soon to join Hal Kemp, is pleasing ommended of Harlem, both with her vocals to Can’t Help Loma’ That by profea frtturing Charlie's Man and Ja-Da, Vocalion; Kemp revives talar, details slto nre performed SPomn and pair* it with Boom, which re­ of liberal students — start right well bat Return i, veals Maxine Gray’s affected singing to bad Trial Otter. with FitxalL For Cor­ HERBIE kn «ho of FHin>> advantage; Victor ... An unusual group Dealers or net, Trumpet. Bart- ton’« origin*) ver calling itself "New Friends of Music" offers Direct, “When Johnny Comes Marching Homs and OK »ion , Scotch is bet- FITTALI* MOUTHPIECE MFO. CO. ter . RED NOR The Droschky Drag on Victor. Instrumen­ tation includes two violins, guitar, cello. 221 Ball Park Blvd.. Grand Rapida, Mich. KAT VO'S new Vil CONGRATULATES <’ ...... a Pease’s and Mary Lon William’s Ray Winegar ______Toadie Toddle; also MILDRED BAILEY TherYU Never Be. Musicians On Ilia New Trumpet By ...... Cuckoo in the • > nnd We’ll Never Know, marred only by BLESSING weak Terry Allen vocal. . . . JAN SAV- SLIDE RULE ITT's And tho Angelo Sing. Snog os • Bug. The "ANSWER MAN" te ell your musical Better instrument* make bet­ Little Sir Echo and I Want Mg Share of problsmtl ter music. That’* why that Dove showing biting brass, fins saxes, and SAIN and RETAIN your mutlcal knowl­ monotonous “shuffle“ rhythms . . . COOTIE edge this new, easy and fascinating way! popular maestro Herbie Kay, WILLIAMS’ and Ain’t Boudoir Benns the Covers completely end thoroughly all is always interested in the Grwog Good, which prove, like John Kirby doea, that a small band ean play good lass CHORDS, SCALES, KEYS. SIGNATURES, (Photo from Popular Mechanics) TRANSPOSITION and INSTRUMENTA­ instrument* used by his men. with a real lift ... LES BROWN and Love TION Dof. D99 That’s why RAY WINEGAR For Sate, paired with Ont Of Ue Night . .. far a BUu- BOB CROSBY’S Dixielanders batting out Solid Lumarith—Sli* Ik'iHi’ so proudly displays his new If 1 Didn’t Car* and Hot Dog Stand. ail the bury taking turn* for aoloa . . . MAXINE ONLY $1.00 POSTPAID (Complete with Instruction* end Leatherette Csie) BLESSING to Herbie. Truly, SULLIVAN’8 Fat Happy and Com Pickin' GUARANTEED AS ADVERTISED it’s a ‘BLESSING’ IN MORE vocal aoloa, and finally, MeKINNEY'S COT­ WAYS THAN ONE. TON PICKERS. with Fat* Waller Haw­ Sold Esdulvely by THE F. L POPER CO. (Dopt. I), ♦ THAYER STREET, NEW YORK CITY kins, DeParis, Carter and Redman sill play- In* In tbe wmi band together nu Mus CARL FISCHER MUSICAL INSTRUMENT CO Ine.