down bea MUSIC '65 10th YEARBOOK $1 The Foundation Blues By Nat Hentoff Jazzmen As Critics By Leonard Feather The Academician Views De Jazz Musician ,By Malcolm E. Bessom The Jazz Musician Views The Academiciau By Marjorie Hyams Ericsson Jazz 1964: Good, Bad, Or Indifferent? Two Views Of The Year By Don DeMicheal And Tom Scanlan Articles by Stanley Dance, Vernon Duke, Don Heckman, George Hoefer, Dan Morgenstern, Pete Welding, and George Wiskirchen, C.S.C., Plus Many Other Features GUITARS Try a Harmony Soon ELECTRIC AT YOUR GUITARS gt AMPLIFIERS Favorite Music Dealer MANDOLINS BANJOS UKULELES Write for FREE full-color catalog •Address: Dept. 0Y5 Copyright 1964. The Harriony Co. Chicago 60632, U.S.A. introduces amajor current in Meateeee titiVe as COLTRANE presents SHEPP Highlighting a release of 12 distinguished new albums, is the brilliant debut A-68 J. J. JOHNSON - PROOF POSITIVE recording of ARCHIE SHEPP, who was discovered and introduced to us by A-69 YUSEF LATEEF LIVE AT PEP'S JOHN COLTRANE. We think you will agree that the young saxophonist's lucid A-70 MILT JACKSON - JAll 'N' SAMBA style and intuitive sense of interpretation will thrust him high on the list of A-71 ARCHIE SHEPP - FOUR FOR TRANE today's most influential jazz spokesmen. A-73 SHIRLEY SCOTT - EVERYBODY LOVES ALOVER A-74 JOHNNY HARTMAN - THE VOICE THAT IS As for COLTRANE himself, the 1964 Downbeat Poll's 1st place Tenor Man has A-75 OLIVER NELSON - MORE BLUES AND THE again produced a performance of unequalled distinction. ABSTRACT TRUTH Other 1st place winners represented by new Impulse albums are long-time favor- A-76 MORE OF THE GREAT LOREZ ALEXANDRIA ites J.J. JOHNSON and MILT JACKSON. Add to these another impressive A-77 JOHN COLTRANE - ALOVE SUPREME debut by THE RUSSIAN JAZZ QUARTET; a delightful jazz excursion by the A-78 LIONEL HAMPTON - YOU BETTER KNOW IT!!! inimitable HAMP; and other scintillating performances by Impulse's dazzling A-80 RUSSIAN JAll QUARTET - HAPPINESS artist roster. Here is truly one of the most important groups of new recordings A-100 DEFINITIVE JAll SCENE - VOLUME 2 ever assembled by one label. (All albums available in both monaural and stereo) For Free, Full-Color Catalog, write. IMPULSE RECORDS A product of ABC-Paramount Records, Inc. 1501 BROADWAY • NEW YORK, N. Y. 10036 With quiet awe for a long-neglected near-genius, observers and critics are beginning to suspect that Thelonious Monk may be the dominant jazz musician of his time. His lifework of more than 50 compositions... his inimitable piano style are, to those who know him, acomplex testimony to aswooping, spirited, enigmatic life. BMI is intensely proud of Thelonious Monk and all the many other great jazz musicians whose music we are entrusted to license for performance. ALL THE WORLDS OF MUSIC FOR ALL OF TODAY'S AUDIENCE BM! Among Thelonious Mocks extraordinary compositions are: Misterioso, Monk's Dream, Rhythm-A-Ning, Worry Later, BROADCAST MUSIC, INC. Straight, No Chaser, Blue Monk, Brilliant Corners, Bemsha Swing. down beat's Use IC 7 ABOUT THE WRITERS 11 THE YEAR IN REVIEW aclpa By Don DeMicheal 15 1964—COLOR IT DULL AND SPELL IT HELP By Tom Scanlan 20 JAZZMEN OF THE YEAR PUBLISHER JOHN J. MAHER 22 THE BUSINESS SIDE OF JAZZ By John Tynan EDITOR 26 FOUNDATION BLUES DON DeMICHEAL By Nat Hentoff 32 WHAT NEXT FOR JAZZ? ASSISTANT EDITOR By Don Heckman PETE WELDING 35 THE JAZZMAN AS CRITIC By Leonard Feather ASSOCIATE EDITORS 40 PLEASE TAKE IT SERIOUSLY DAN MORGENSTERN By Stanley Dance JOHN TYNAN 44 DICHOTOMIC DIALOG CONTRIBUTING EDITORS By Vernon Duke LEONARD G. FEATHER 48 BESSIE AND ME BARBARA GARDNER By Jack Gee 55 THE WHITE BLUES MEN ADVERTISING SALES By Pete Welding FRED HYSELL JR. 58 JAZZ PHOTO GALLERY ADVERTISING PRODUCTION 66 CREAM OF THE CROP—THE BEST RECORDS OF 1964 GLORIA BALDWIN 68 COTTON CLUB PARADE PROMOTION MANAGER By George Hoefer JOHN F. WELCH 80 THREE FORGOTTEN GIANTS By Dan Morgenstern Cover photograph by Richard Schaefer 87 THE JAZZ AVANT GARDE: PRO AND CON—A DISCUSSION OFFICES: 205 W. Monroe St., Chicago 6, Ill., Financial 6-7811; 1776 Broadway, New York City, 19, N.Y., PLaza 7-5111; 6269 Selma 96 THE ACADEMICIAN LOOKS AT Blvd., Los Angeles 28, Calif., H011ywood 3- 3268. THE JAZZ MUSICIAN By Malcolm E. Bessom Published by Maher Publications, division of 101 A JAZZ MUSICIAN LOOKS AT THE the John Maher Printing Co., 205 W. Monroe St., Chicago 6, III. Printed in the United ACADEMICIAN States of America. Copyright, 1965, by Maher By Marjorie Hyams Ericsson Publications, all foreign rights reserved. 103 THE PROBLEMS OF THE STAGE MAHER PUBLICATIONS: BAND By George Wiskirchen, C.S.C. DOWN BEAT MUSIC '65 106 IGOR, A BIG-BAND ARRANGEMENT By Clare Fischer NAMM DAILY JAZZ RECORD REVIEWS 112 TW)WNT RIjA INTYRY WIR 1«A. LIMELIGHT will become the most distinguished name in jazz recording in 1965. Its roster comprises the following artists; all exclusively on Limelight: chet baker •art blakey •dizzy gillespie •milt jackson •roland kirk • gerry mulligan • oscar peterson • the double six of paris • the three sounds LIMELIGHT IS A DIVISION OF MERCURY RECORD PRODUCTIONS, INC. in New York City, Dan Morgenstern, is aman who has felt the heartbeat of jazz. His warm and moving tribute to Three Forgotten Giants (page 80) deals with the careers of tenor saxo- phonist Chu Berry and trumpeters Frank Newton and Oran (Hot Lips) ABOUT THE CONTRIBUTORS} Page. Malcolm E. Bessom is a director of vocal music at a high school in Don DeMicheal's The Year in April in Paris and ICan't Get Started Chelmsford, Mass., and a long-time also is a composer of concert music, Review, which begins on page 11, is and literate student of jazz. Begin- written from the viewpoint of one which is published under his real ning on page 96, an article by him— who has read every item small and name, Vladimer Dukelsky. Duke and The Academician Looks at the Jazz Dukelsky indulge in some heated con- large that crosses the desk of Down Musician—outlines the sociological Beat's editor, which DeMicheal has versation in Dichotomic Dialog, which forces involved among various group- been since August, 1961. The author's starts on page 44. ings of jazzmen and their audiences. stance, however, is more reportorial Down Beat assistant editor Pete Marjorie Hyams Ericsson was the than editorial. Welding is steeped in the pungent first vibraharpist in the George Shear- A more subjective view of the and thrusting country blues. His un- ing Quintet. She also worked with the year's jazz happenings is taken by sentimental, slightly barbed article Woody Herman Band and other Tom Scanlan in 1964—Color It Dull about white blues men deals with the groups. Now teaching privately in and Spell It Help (page 15). Scanlan, shortcomings—and virtues—of the whose jazz column appears regularly growing group of young white men Evanston, Ill., Mrs. Ericsson offers a in Army Times, is admittedly a jazz who would be singers of the blues. sometimes-humorous essay, A Jazz mainstreamer, but he also is aforceful The essay begins on page 55. Musician Looks at the Academicians writer, whose opinions on jazz are George Hoefer is one of jazz' most on page 101. always heartfelt. astute and respected historians. On The Rev. George Wiskirchen, John Tynan, Down Beat's associate page 68 he begins an intriguing ac- C.S.C., is the band director of aNiles, editor located in Los Angeles, has count of one of Harlem's most famous high school. He also is one of long been concerned with the jazz clubs, the Cotton Club, for years the the most respected stage-band lead- business. His The Business Side, be- stomping grounds of such artists as ers in the country. He writes with ginning on page 22, takes into con- Ethel Waters, Duke Ellington, and insight and compassion about The sideration the problems faced by those Cab Calloway. Problems of the Stage Band, which who do the hiring and selling in the Down Beat's associate editor located begins on page 103. jazz world. Nat Hentoff, one of the most re- spected jazz critics, seldom indulges in daydreaming. An exception is his Some day Foundation Blues, which begins on page 26. Hentoff's wide experience in jazz and his concern for it, are I'm going to play brought to bear on a hypothetical situation in which afoundation makes one of those things a large amount of money available to the jazz cause. Don Heckman, an alto saxophonist and composer, is one of the few active jazz musicians who regularly write about the music. His article on the shape of things to come—What Next Bet he will too! Give him a few for Jazz?—starts on page 32. more years and he'll be happily Down Beat contributing editor cuddling aguitar on his lap. And Leonard Feather, who has been an if he does what most guitar play- active jazz critic for almost 30 years, ers do (both amateur and pro), looks at The Jazzman as Critic (page he'll use a DeArmond pick-up to 35). Using his own Blindfold Test and bring out the full beauty and the critical-analytical writings of vari- volume of tone. He'll find too ous jazzmen, Feather draws provoca- that a DeArmond pick-up makes tive conclusions about musician- playing less work and more fun. writers. There are 9 different DeArmond Stanley Dance can be one of the pick-ups for guitars, from inex- wittiest jazz writers of our time when pensive models for beginners to the the mood is on him, and there is more finest precision types for profes- than a trace of ironic humor in his sionals.