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VOL. 1. NO 1 JULY, ISM FAIR BOON FOR MUSICIANS CLYDE LUCAS BOOKED Down Beat Greet» You mis FIRST AT lUGCENTIIRT FOR LONGER STAY AT TERRACE GARDEN

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Levant Open» at Buddy Roger» Fair Return»

ANSO« WEEKS 60ES OVER MTN A RANG!

Eddy Duchin’s Henry Busse and His Orchestra at ( hex Paree Orchestra Opens at Congress

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KALAMAZOO. MICHIGAN deplorable situation and the agencies do nothing about this and the club ow n­ ers are too apprehensive to do anything about this, the voice of Down Beat should be heard vigorously and mili­ On Stan's Behalf fairness. The applicant was permitted tantly on behalf of the musicians. New York City to see the department’s evidence when Maxwell Cohen To the Editor introduced and the conventional rules May I make some corrections and of evidence w’ere discarded in place of Birdlanders Flew Coop . . . annr offer some comments with regard to the an informal and thorough method of Houston, Texas grow article published in tin May 30 Down procedure. To the Editor: to b< Beat entitled “Operation Getz”? I was This is very heartening and most Recently, the “Birdland Stars uf ’57’’ Stan’s attorney in the matter referred encouraging. were presented in concert here. It was Obviously, it will be most incumbent a big event for lovers of the modern know Stan received a 90-day temporary upon any petitioner and/or his attor­ idiom, who eagerly awaited its coming. fact card, not a 60 day temporary card. At ney to prepare meticulously and with Stars such as Chet Baker, Zoot Sims, the end of the 90-day period, he is great care for a hearing and review— Seldon Powell, and Rolf Kuhn were privileged to reapply for a six-month an approach which certainly is not of­ publicized as being on the show, but card upon presentation of a medical fensive to the intelligence and attitudes not one of them appeared. Many cus­ band examination, and, thereafter, he will of the police authorities. tomers were disappointed by this, to stag« be given six-month cards until the In short, the importance of the em­ say the least, for many came a great termination of the three-year period. ployment opportunity and status to the distance to see some of these stars. This is consistent with the new proced­ petitioners justifies the most intelligent Two of the performers W’ho did ap­ ure and policy of the New’ York City preparation possible for the applica­ pear, seemed not at all to have con­ colui police department’s bureau of cabaret tion, the review, and the hearing. trol of themselves. One of these men, licenses. Down Beat’s interest ir the situation w’ho was a pioneer of progressive jazz, The hearing was thorough and was is thoroughly commendable. had a hard time making it from the distinctive because it permitted the ap­ Now, will Down Beat do something wing to the center of the stage. After plicant the widest degree of latitude about thi- deplorable situation about he got there he couldn’t get a decent in presenting evidence favorable to public police raids while musicians are sound out of his horn, much less blow worl himself. There was no hostility nor performing in Philadelphia and the jazz. come undue sympathy. The hearing was con­ well-known abuses in Los Angeles? The only part of the audience which ducted in an atmosphere of complete If the unions do nothing about this got kicks out of this demonstration were the idiots who indulge in such w’eak- pass, nesses themselves. The reason for this becoi man’s pitiful exhibition was the same TOP DRUMMERS as the one which kept some of the execi ✓ are switching to the stars away. As long as jazz promoters continue grou to put fools like these before the public, taler JEW /eec/e/ with the NEW SOUND there will never be a major acceptance of jazz nn the part of the masses. James Cosmo

New York City cago To the Editor spre It is with a great deal of pride that worl I write this letter to tell you the won vicei derful feeling I got when J found out rece that 1 came out No. 1 in the best new female singer category in your Disc forei ■Jockey poll. !W,i)( I would like to take this opportunity catic to thank the disc jockeys all oyer the tries country for the support they have Chin -hown me. No singer can do without these wonderful guys. My thanks, too, now to Down Beat for all the kind words in viou the past. Eydie Gorme

Kamman Famine some Detroit, Mich. time To the Editor: buti< I just noticed an article written by whei Leigh Kamman in the_ May, 2,, 1957, nn s issue of Down Beat. It’s nice to know that Leigh is still around in jazz. Un­ fortunately, 1 left New York right after he left the 1280 club radio show (from the Palm’s cafe) and I haven’t heard from him since. year Here in Detroit (ugh!) there isn’t lack M currently with Bob Croiby'a CBS TV thow. He ii also Holl woodi a jazz deejay worth mentioning except cula busiest recording drummer for Capitol. Victor and Decca records. for one or two renegades who aren’t prou grov “Tke new LEEDY'l wuk tke NEW SOUND mi STICKSAVER afiaid to feature a jazz record for a hoop< are the finea irumt I have ever played"—lack Sperling brief few moments, but to pay for this, iazz the new IEEDY »neo Send 10c in coin or M O. for pictures STICK SAVER of your favorite Leedy drummer. and Elvis for the next week. triple flanged It just isn’t worth staying up until refle counter hoop now supplied 3 a.m. to hear the radio anymore. on all professional model Send my best to Leigh and Jack DRUM CO. 2249 Wayne Ave. Chicago, III Walker. Dow snore drums and tom toms Jerie Germaine Harvey that

Down Beat • agenc.es club ow n > anything own Beat the first chorus and mill cians. ______Sy Jack Tracy veil Cohen This Issue Marks Down Beat's 23rd anniversary, and at this stage of our ton, Texas growth, we feel we have many reasons down beat. to lie proud. Volum« 24 No 11 June 27 1957 irs of ’57” From a skinny, groping depression EXECUTIVE OFFICE—2001 Caiumet Ave Chicago *I, III., victory 2-0300. Publisher-Charles Suber; e. It was baby, we have grown into the best- Executive Editor—Jees Tracy; Circulation Director—Robert Lyn< ¿d'tor at— Don Seid Lois Polzin. Advar le modern known and most influential journal of tiling—Harry P. Lytle, Midwest Advertising Representative Gloria Baldwin Production—Mary *DeMe NEW YORK—370 Lexington Ave., MUrray Hill 6 1833. Editorial—Dom Cerulli, Associate Edite ts coming. fact and opinion about American music Advertising-'-Mel Mandel Advertising Manager . HOLLYWOOD—6124 Santa Monica Boulevard Soot Sima, in the world- Hollywood I 6005 John Tynan. Associate Editor. Advertising—Ray Combs uhn W’ere These pages have traced not only show, but the development of jazz and dance 4any cus- bandom during their most significant ------MUSIC NEWS------g this, to stages, they have reflected the tempers e a great and customs and tastes of more than Another look at the midsummer frenzy of jazz concert*, further new* ebout the shuttle stars. service of talent between the U.S. and England, and some comments on the AFM vs. Jim two decades. Crow are part of the new* roundup that starts on page 9 o did ap­ To read back now through bound have con- volumes of earlier years of Down Beat hese men, is like reading a unique, fascinating, ------FEATURES------isive jazz, but graphic history of the nation dur­ from the ing that time. The pressures of the JAZZ CONCERTS: A PHENOMENON ge. liter depression, the all-out war effort, and Some figures and data on what it takes to run a jazz tour these days By John Tynan a decent the subsequent realization that the less blow world is ever growing smaller in size 23 YEARS OF DOWN BEAT: COVER STORY 11 come sharply to light. A look st the last two decades plus of music as seen through these pages ice which ition were THROUGH THESE PAGES, too, has A JAZZ SEMINAR: ARE BLUES ESSENTIAL TO JAZZ? 15 ch weak- passed a parade of writers who have In which two critics, a recording executive, and a musician do some serious talking. I for this become shapers of America’s taste in music—men who are now recording DAVE BRUBECK: AN ANALYSIS the same The second of a serie* on some jazz pianists of rank. By John Meheqan e of the executives, authors, television produc­ ers, and talent packagers. Down Beat A DRUM IS A WOMAN: CONTROVERSY ARISES 18 has proven to be a fertile spawning Good show, says Leonard Feather* Uh uh, a letdown, say* Barry Ulanov. continue ground for a great deal of creative he public, cceptanee talent. »es. As our influence has expanded, and ------MUSIC IN REVIEW as the music we write about and fight es Cosmo for has gained in acceptance, so has The Blindfold Tatt (Paul Ch ambers | 33 Jan Record* 23 our circulation increased and expanded • Heard In Person 35 Popular Record* 21 From a flimsy semi-handout to Chi­ 24 Tape Recording* 42 'ork City • Jazz Best-Seller* cago musicians in 1934, Down Beat • Jan Concert Review* 19 spread swiftly nationwide up to the ride that world war. Because of the many ser­ the won- vicemen overseas who subscribed and ------DEPARTMENTS- ound out received free condensed copies of every best new issue, we became better-known in many *Chord and Discords • The Hot Boi (George Hoefer) 20 our Disc foreign countries. Among the more than Classic Modern (Ray Ellsworth) 37 * My Favorite Jan Record 27 20,000 who now subscribe to this publi­ portunity cation, there are persons in 73 coun­ The Devil's Advocate (Mason Sargent) 34 • Perspectives (Ralph J. Gleason) 20 over the tries, from Arabia and Yugoslavia to Feather's Nest (Leonard Feather) 6 • Radio and TV (Will Jones) tey have China and North Borneo Filmland Up Beat (Hal Holly) 38 • Strictly Ad Lib without The First Chorus I Jack Tracy) 5 * Barry Ulanov 18 inks, too, MORE COPIES of Down Beat are • Whore They're Playing 42 words in now being sold than at any time pre­ High Fidelity 32 vious to and following a couple of mid- le Gorme '40s war years. This edition will be purchased by •ome 05.000 readers. And for the first it, Mich. time in our history, we have initiated and have begun to receive heavy distri­ On The Cover bution on many overseas newsstands, ritten by where 5,000 copies of this issue will gn 2, 1957, on sale. to know A reproduction of the first page of th* iazz. Un- At the present rate of growth, before the year is out we will have hit the first issue of Down Boat, dated July, 1934 tk right is th» cover of this edition, published just 23 dio show 75,000 sales mark. ’ haven’t It is more than double the sale of a years later. For special anniversary stories year ago. and columns, see page 13, Feather's Nest, The ere isn’t HAPPY AS WE ARE about the cir­ Hot Box. Perspectives, and The First Chorus. g except culation picture, however, we are more io aren't proud of the way you have helped us rd for a «row in prestige and weight in the Subscription rates St a year, $12 two *year $M three *year In advance. Ada $1 • yeai to these prices tor for this, jazz field through your support and subscriptions outside the Uniled Steles its *,possession end Ceneda Special school library rates a izy Otto, year. Single copies —Cepade 35 cents; foreign, SO cents Change of address notice must 'each us before encouragement. effective Send old address with your new Uupliceto ropies cannot be sent end post office will net A journal of news and criticism must forward copies Circulation Oept , 2001 Calumet Ave., Chicago 16, III. F'inted In U. S A. John Meher up until '¿fleet opinions and tastes as well as Printing Company, Chicago Illinois Entered as second-cless metier Oct. 6, 1939. it the pcs' office in Chicago, III., under the ect of Merch 3, 1879. Re-entered es second-cless metier Feb. 2S, 1948 lore. help to shape them. Copyrig'♦ 1957. by Maher Publications. Inc., all foraign right« reserved Trademark registered U S. nd Jack Your ever-growing acceptance of Patent Office Greet Britain registered trademark No 719,40? Published bi-weekly; on sale every other Down Beat is encouraging proof to us Thursday We cannot ba responsible for unsolicited manuscripts. Member Audit Bureau of Circulations OTHER MAHER PUBLICATIONS- DOWN SEAT, COUNTRY AND WESTERN JAMBOREE Harvey that we are doing that jnb well MUS'C ‘57, JAZZ RECORD REVIEWS MADIO V ARTICULOS ELECTRICOS; REB'DAS El ARC Thank you. RACONES V ENVASES RADIO * aRTICUi OS ELECTRICOS CATAIOGOS wn Beat June 27, 1^57 course, to the British), I lashed out with adolescent fervor at the “great, feathe r s nest dumb U. S. public” and at the even ______By Leonard Feather more cubical squares across the water; but I cited several instances of racially The Anniversary celebration is a preneur, fighting for causes that seemed integrated bands working in London trigger for nostalgia. One’s first in­ hopeless. and, recalling that at that time Benny stinct is to dive into 1934 Down Beats, At the moment of Down Beat’s par­ Goodman dared not even hire Teddy to dig up little-known facts about now- turition, he was involved in a big plan Wilson, added: known persons. to send to Europe an all-star mixed “The sooner your public (and some But it isn’t as easy as it sounds; for band led by Benny Goodman and Benny of your narrower-minded musicians) when you go back to the first year of Carter, a project that never could have shake off this complex, the better it will Down Beat you also revert to the mu­ been realized at that time in the native be for jazz.” sical, professional, and social condi­ land of jazz. During the next couple of years, an tions that prevailed in these United The plan fell through; meanwhile, old scrapbook reminds me, both the States at that time and you realize, back in Chicago, it was announced that Beat here and the Melody Maker in with relief, how many Rubicons have “the Dorsey Brothers wish it known London opened up more space to the been crossed in those 23 years and how that they are Irish, not French” (it kind of men and subject matters that much more there is to the music world seems somebody had listed them as were to form the bases, two decades than could be observed through the d’Orsay) and that “Johnny Hamp’s later, for forums and festivals and specially filtered looking glasses of orchestra definitely is not colored,” and academic courses. those primitive days. that Jimmie Grier was doing fust great In the same old scrapbook (ah, now For at that time, you could find out on the west coast. I begin to feel the nostalgia setting in, plenty in the infant Beat about Little My own first Down Beat contribution like a shot of schnapps that takes a Jack Little and Al Kavelin and Al Don­ moment or two to get glowing) I found ahue and Ace Brigode, but you had to appeared in the October, 1935, issue, not long after I had first laid eyes on an interview with Ella Logan: “She go through the pages with a microscope points with pride to a little niece who, before a mention of Ellington, Good­ the Manhattan jazz scene, such as it was. she is sure, will one day be as big a man, or Lunceford came up. hit as Shirley Temple.” (Her name now NOT ONLY WERE there no features IN A PIECE headlined “America is Annie Ross and she’s bigger than or news about such obscure cats, there Crazy But England’s Crazier Still!” Shirley Temple.) were also no record reviews and no jazz and subheaded “Absence of Inhibitions And my first report on the Basie critics to speak of. John Hammond was About Color One of Our Saving Graces, band after a trip to Kansas City’s Reno on the scene, but chiefly as an entre- Says Feather” (the latter referred, of club: “They have some advanced or­ chestrations and deserve real recogni­ tion;” but the atmosphere in the club, I added, was hardly conducive to the Love a quick, easy action” formation of any firm judgment. And a glowing report on the Chick Webb and Louis Armstrong bands at a MARY 5 a.m. breakfast dance (whatever hap­ pened to breakfast dances?) in the Savoy ballroom (whatever happened to Harlem?). OSBORNE WHAT FASCINATED me most of all in these tattered pages were the old night club programs and menus: ON “The Ubangi Club Presents the Fifth Edition of the Ubangi Follies, July 23, 1935,” with Erskine Hawkins and the Original ‘Barna State Collegians; Billy GUITARS Daniels, Velma Middleton, and Edna Mae Holley, who’s now Mrs. Sugar Ray Robinson. They didn’t care what they put in the lyrics in those days. The show’s opening number was You Broke It Up When You Said Dixie, and as I recall, it was pro-Dixie; the finale was Reefer Smokers' Ball, and I doubt whether it was anti-reefer. A few pages later there’s the Small’s Paradise menu (sirloin steak $1.50, no cover or minimum) ; Connie’s inn, one of Broadway’s fanciest night clubs Wants a fast-responding guitar- (full-course southern fried chicken din­ ok one that “plays easy"... calls ner $1.50); the Apollo theater program it a must for tricky styling. Prefers a for the week of 12/11/36: The League slim neck... says it gives her fingers of Rhythm Revue with the tragically more reach with less effort. fallen Bessie Smith near the bottom of the bill (John Hammond introduced us, Wants the best tone and finest looking instru­ and I am sorry that this is my only ment too . . . Chooses a GRETSCH guitar, memory of her, for she was too far »co I naturally! Has two of them . .. Gretsch "Country gone); and a rave review of Red Club" model in Cadillac Green and the fabulous Norvo’s “subtle swing sextet” at the Gretsch “White Falcon" (a real "show-stopper”) — Hickory House. tar plays it on TV. .. both guitars in constant use for Not everything from those years has radio shows, recording sessions gone the way of the $1.50 sirloin steak and the Harlem cabarets and Bessie KI See Mary Osborne's guitars in Free Gretsch guitar catalog— Smith. yours for asking... try a GRETSCH guitar at your dealer's. John Hammond, torch ever aflame, still digs up undug talent; Ellington still has the best band around; the fr I VI H Tho FRED GRETSCH Mfg Co. Dopt. DB62>7 Hickory House is still swinging, and Down Rent is bigger and better than wralals I Vvl I SO Broadway, Brooklyn 11, N.Y. ever But what became of Ace Brigode?

Down Bcul shed out • “great, the even ie water; f racially London ie Benny •e Teddy ind some usicians) »r it will years, an both the Maker in :e to the ters that i decades vals and

(ah, now etting in, takes a ) I found in: “She iece who, as big a lame now ger than

he Basie ty’s Reno meed or- l recogni- the club, ve to the nt. the Chick ands at a ever hap- ) in the ppened to

most of were the d menus: the Fifth I, July 23, 5 and the ms; Billy md Edna lugar Ray ey put in he show’s oke It Up s 1 recall, as Reefer vhether it he Small’s iak |1.50, mie’s inn, iyway you ight clubs licken din- ok at it he has r program he League Artist's touch tragically e bottom of oduced us, »joy his fine i my only is too far »cordings r of Red st” at the

years has tarlie's choice? •loin steak nd Bessie KINGS THE H. N. WHITE COMPANY 5225 Superior Ave. • Cleveland 3, Ohio er aflame, Ellington ound; the iging, and etter than e Brigode? June 27, 1957 'town Beal NEW YORK JAZZ: Tenor man John Coltrane formed his own gr<> ip and was scheduled to cut an LP for Prestige the end of May. In the group are Sahib Shihab, baritone; Red G ir- iand, piano; Albert Heath, drums; John Splawn, trumpet; Paul Chambers, bass. Mal Waldron was to be pianist for one number. Manager Tilly Mitchell said i'rescige would release three LPs and some singles under the contract . . . Herbie Mann will head for the west coast Nev shortly to cut an album with Pete Ru­ golo for Mercury and another with Bud into Shank for Pacific Jazz. He’ll head over- Sch seas in the fall Trombonist Frank cone Rehak and pianist Hank Jones were au­ ditioned and set for acting and blowing roles in the forthcoming Nancy Walker jazz musical, Copper and Brass. Ralph Burns is arranging the scores for the produc­ tion due early next season . . . Columbia afte still cutting the Miles Davis big band al- Rugolo uled bum, with reports from musicians on the date that it will be a classic J. J. Johnson and a rhythm section of Tommy Flanagan, piano; Paul Chambers, bas.-., and Max Julii Roach, drums, stoppe-d at Columbia to cut an LP, but things grot got sc swinging they cut two Shorty Baker is with Gry i Duke Ellington on trumpet, subbing for Clark Terry, who Peif took a five-week leave of absence to play featured horn in the Radio City Music Hall presentation, Musicana . . . trio, Billy Taylor continues his jazz lecture series, with more thev than 15 given at high schools in the area so far, the latest at Riverside Oscar Pettiford will again record his big band for ABC-Paramount, when they can all find time Gigi Gryce and the Jazz Lah group set to Smi record a big band date for Epic and a string date for sept Signal Herb Pomeroy and his band from Boston due ban< back to record an LP for Roulette early in June. Band’s impression during recent Birdland stay was so favorable, stru management is mulling bringing the group in again in August with Sarah Vaughan . . . Miles Davis reported forming a new group, probably to the Cafe Bohemia. Les Jazz Modes are at Small’s Paradise Club . . Charlie give Mingus and the Jazz Workshop, Inc. opened at the Five Spot in mid-May . . . Jazztone is readying some stereo tape releases for the near future, among them: the Rex Stew­ art-Cootie Williams session, the Sammy Price Paris con­ cert, Jimmy and Marian McPartland, and an Eddie Bert urda session . . . Art Blakey's Jazz Messengers and the Teddy Nat Charles duo at the Cafe Bohemia George Wallington wert at the Composer until mid-July. ENTERTAINMENT-IN-THE-ROUND: The famed Glen Island Casino opened its summer season with Sonny Dun­ ham's band, and scheduled Warren Covington and the Com­ that manders for every week-end in June . . . Saxist-singer STRINGS gorii Tony Carter and his 11-piece band signed for the summer tive at the Rainbow room at the Albion hotel, Asbury Park, N. J , kicking off u new big band policy for the spot . . . of 6 Bill Haley set for the State theater in Kingston. Jamaica, furrr starting June 15 . . . Harry Belafonte, on a sudden health kick, enrolled his entire office staff, including a girl mem­ ber, his friend, actor Sidney Poitier, and his wife in the YMCA for five years. He also bought bicycles for his and staff use in Central Park to keep in shape. First day out, was one staffer received n police summons for reckless cycling. Wat RECORDS: Bob Rolontz, Vik’s jazz a&r man. was upped to singles director. He’ll continue to cut the label*- jazz Giufl packages . . , Trombonist Murray McEachern signed with Beni Select the instrument Capitol . . . Verve has issued its last six Charlie Parker packages, and is preparing a Parker memorial album . . . ist 1 you really want Mercury is working on a two-LP set of Billy Eckstine and still Sarah Vaughan . . . Bernie Green was signed by Frisco and play your very belt— Records. So was Art Hodes, w’ho will inaugurate a Dixieland in tl with the Uneit quality stringi line for the label. June RADIO-TV: Mutual’s Bandstand show, now carried by musi more than 300 stations and sustaining a good live jazz policy, celebrates its 1st birthday July 6 . . Spike Jones Stra lost his TV gig. His sponsor let him go . . . Vaughn Mon- addìi rw, JUHU8 UäiWBÄ, uvvigia uiuub, lull/ iviaiuii, « • Carli Morgan, Martha Carson, Eddie Heywood, and others will participate in RCA Victor’s Galaxy of Stars on NBC-TV GIBSON, INC., KALAMAZOO MICH (Continued on Page 39)

Down Brat June music news

Down Boat June 27, 1957 Vol. 24. No. 13 wn gr>..ip ie end of Red G ir- lan Living History of Jazz, the Kaye, luckily, had a new rock ’n* roll trumpet; U. S. A. EAST hour music and narrative chronology release which came in handy about that ianist for composed and arranged by Jackie time. Midsummer Frenzy Byard. McLellan will narrate the pre­ sentation, and the Pomeroy band will New Village Sound More and more activity centers on play original scores in the idiom of the New England, where preparations for eras covered. For years, since its start in 1934, the Newport Jazz festival are moving Max Gordon’s Village Vanguard was into high gear, and the programs at the The Children's Hour known as the cradle of s.tars. School of Jazz, Lenox, Mass., and the From its smallish stage sprang such concert season ut the Berkshire Music At 4:30 p.m. on a mid-May Thurs­ personalities as Judy Holliday, Betty Barn are being rounded into shape. day, some 150 apple-cheeked reporters Comden, Josh White, Burl Ives, Harry In addition to the imposing roster of and editors of college and high school Belafonte, Eartha Kitt, Pearl Bailej. jazz, names set already for the four and Wally Cox. Talent scouts and evening concerts at Newport, July 4, agencies prowled the spot regularly, 5, 6, and 7, an impressive array of because of ita reputation as a show­ <1 afternoon programs has been sched­ place for people with promise. golo uled. On June 1, the Vanguard closed its at it will Friday afternoon, July 5, will be doors, to reopen them on the 4th with lection of highlighted by a program consisting of a new policy—jazz. and Max Julian (Cannonball) Adderlev and his Booked for the opener was Chico »ut things group; the Jazz Lab group, with Gigi Hamilton and his group for two weeks, r is with Gryce and Donald Byrd; the Bernard sharing the stage with Irwin Corey, erry, who Peiffer trio; Ruby Braff’s octet, featur­ one of the great contemporary madmen. ired horn ing Pee Wee Russell; Toshiko and her Upcoming is a three week engage­ cana . .. trio, and jazz accordionists Mat Mat­ ment by Stan Getz and a group, and nth more thews and Leon Sash. on July 6, for two weeks, the Modem far, the The Saturday afternoon program Jazz Quartet. in record will include the Don Elliott quartet; the ti all find Horace Silver quintet; organist Timmy More Crossings ip set to Smith and his trio; the Kai Winding date for septet; the Farmirtgdale high school Britain and the United States are oston due band; pianist Bobby Henderson; vocal­ separated by thousands of miles of e. Band’s ist Jackie Paris, and, as featured in­ ocean, but are becoming closer and favorable, strumentalists Eddie Costa, piano; Os­ Sammy Kaye closer musically. In recent years, Great again in car Pettiford, bass, and Tony Scott A Jolt Britain has virtually become part of reported and Rolf Kuhn, clarinets. the eastern circuit of jazzmen and lia. Sunday afternoon will mark a New­ newspapers in the Greater New York singers. port first, with gospel singing being area stalled firing questions at band Here is a late look at the crossing Charlie given full display as one of the roots leader Sammy Kaye and a few disc activity: the Five of jazz. Featured on the program will jockeys. The Hi-Lo’s are set to tour Britain ereo tape be Mahalia Jackson and Clara Ward Some of the queries were quite in September. Frankie Laine and Mel lex Stew- and Her Ward Singers. pointed for so young an audience. Torme are set for summer. In the ’aris con- Disc jockey Paul Sherman of WINS works is a swap of the Humphrey ddie Bert Forums will be held Friday and Sat­ he Teddy urday mornings, under the direction of was bracketed with questions on pay- Littleton group for Buck Clayton and ullington Nat Hentoff. Subjects and participants olas und the importance of DJs in hit­ a jazz band. Also rumored, and h^ped- were not set at presstime. making. for in Britain, are swaps to bring At the School of Jazz, its executive “You kids control the record indus­ ned Glen director, John Lewis, music director of try,” Sherman said. “Disc jockeys don’t. nny Dun- ’.he Modem Jazz Quartet, announced They play what you request. And I the Com­ that instructors in the various cate­ don’t think DJs make the hits.” ist-singer gories still were auditioning prospec­ On payolas, Sherman said he had Too Piercing, Man > summer tive students. “heard of it. but I don’t know anyone iry Park, Of the total anticipated enrollment who has taken it. I never have ac­ From Dick Williams’ column in spot . . . cepted money for plugging records. Jamaica, of 60 students, some 20 had been in­ the Los Angeles Mirror-News: formed by the end of May that they I wouldn’t jeopardize my career. I’d “Helen Traubel’s hi-fi was turned en health say that very few disc jockeys get paid prl mem- had been accepted. Lewis and school up loud when I arrived at her directors said the applications to date for plugging records.” • penthouse apartment on the Sun­ fe in the had been of very high caliber. r his and Kaye fired a few questions at tho set Strip, but instead of operatic day out, At the Berkshire Music Barn, July 6 kids after answering scores of theirs. arias emanating from the speaker, ■ cycling, was set as the date for the Ethel "How many of you like rock *n* roll?" it was the jazz rhythms of Shelly Waters concert. Others include Ma­ he asked. More than three-quarters of Manne and his group. Miss Trau- ras upped halia Jackson on Aug. 15; the Jimmy the group stood up. bel's jazz bel had a stack of long-plays by Giuffre trio, Aug. 11; Richard Dyer “Who do you like better, Elvis Pres­ such singers as Peggy Lee and pied with Bennett, Aug. 10; Marais and Miranda, ley or Frank Sinatra?” Kaye asked. ie Parker Sarah Vaughan on the table along­ July 27, and Lee Wiley and song satir­ Sinatra’s victory was almost unani­ side. When I asked what was going Ibum . . • ist Tom Lehrer, for whom negotiations mous. Among other things, his clothing «tine and on, she explained that she debuts still were under way. and appearance, his voice, and his style in a few weeks on Dot Records, jy Friscn In Boston, the annual Arts festival of singing were mentioned as reasons Dixieland with a new kind of singing for in the Public Garden from June 14 to for his popularity. her, and she wants to hear what June 30 will feature three important “Presley sings with an animal beat,” some of the others are doing. irried by music presentations. The highlight of protested one 13-year-old. “ ‘It’s popular numbers now, with live jazz Ine festival will be a salute to Igor Then Kaye received a jolt. He placed ike Jones full orchestra and small group Stravinsky on his 75th birthday. In his latest ballad on the phonograph and backing,' she said, ‘but I’m plan rhn Mon­ addition, four performances of Gian asked, “Can you dance to this.” ning to go even further soon and , Jaye P. Gado Menotti’s opera The Consul will The answer, from the -iquirming edi­ dive into the jazz field. Can you hers will be presented. tor - making u of the Hotel Roosevelt NBC-TV imagine that?’ ” Jazz highlight of the free festival Grille room’s dance floor, was a loud No. will be the Herb Pomeroy-John McLel­ and ringing, “No!” own Beat June 27, 1957 9 Weedy Heiman, Dave Brubeck, and seveial European countries, beginning dents, served as a test, to see if ja z do it Benny Goodman to that country. Oct 7 and returning Jan. 7. could lure enough persons from Van this i Basie is reported set to tour again Plans for the unit to tour the Carib­ Gogh and Cezanne In make future con­ AFM in the fall. Heath will come here, to bean, Pacific, and Far East areai are certs worthwhile. If the institute’s di­ ptior tour rrobably with Carmen McRae and tentative. rectors are moved, future concerts may the Four Freshmen. Billy Eckstine had be slated for the building’s spacious to postpone his tour, originally set for Fullerton hall. Jazz Workshop Planned mid-August. Pop singers Mindy Car­ The son and Guy Mitchell are in England. The co-owners of the SRO club in For Mitchell, it is a second tour fol­ Hotel In Name Test 47 to Chicago are fond of money but don’t was < lowing on the heels of a highly success­ need too much of it to keep the club Another Chicago club may book name bershi ful first trip. Miss Carson is on her going. attractions if a current experiment first tour. instru Jerry Gales and Marty Allen have proves successful. Califc The Goofers are headed for a Palla­ full-time jobs. .As Gales said, “We don’t The Sutherland hotels lounge, which dium show opening June 17. Efforts are depend on the club for bread and but­ has utilized local trios and quartets, passe« being made to secure a tour of Britain ter. As long as the place pays for it­ booked the Phineas Newborn group for that ! by- Nat Cole with his trio. Rosemary self, we’re happy. And we hope some four weeks, beginning May 29. Al­ .«litar Clooney skipped over in May, ana of our plans enable it to do more than though the tab on Newborn’s ensemble rertor cut the first sides m the new Phillips that.” more than doubled that paid most of Studios in England. The first of these plans materialized the previous groups, the management Clarinetist Tony Scott kept enlarging recently. Jazz Unlimited, a local jazz is hoping that it will prove lucrative. repris his itinerary, and planned stops at society, sponsored a jam session at If it does, more names may be intro- revolt Frankfurt, Berlin, Paris, Switzerland, the club on a Sunday, from 5 to 10 presic and Italy before returning home for the p.m., featuring local musicians. Addi­ Jazz Festival at Newport. tional sessions are planned for future to the On June 14, J. J. Johnson is sched­ Sundays. U.S.A WEST dema* uled to open with his group at the More important, however, are prep­ of 10 Folk Park in Stockholm, Sweden. The arations for a jazz workshop. Jim Crow And The AFM from concert kicks off an eight week tour of “I’d like to set up a workshop for Sweden, with other European bookings Chicago jazzmen” Gales said, “en­ A committee to fight for the aboli­ scheduled to follow. Already set were abling them to use our place during tion of Jim Crow locals within the appearances in Amsterdam Aug. 17 and weekdays. I’d open it for their use American Federation of Musicians has Brussels Aug. 18. every afternoon. They could rehearse, been formed by members of Hollywood’; experiment. In that way, we’d develop Local 47. talent for our Wednesday-TYiuroday slot In announcing the formation of the U. S. A. MIDWEST or on a regular basis. We eould feature body, board member Marl Young named •urro a new group each week at night if the the following as committee members: has g The Compleat Jazz History daytime* workshop worked out." Nat Cole, Benny Carter, Earl Bostic, first Local jazzmen interested in the work­ Wild Bill Davis. Ernie Freeman, John­ The i It’s a fast world. shop can get in touch with Gales or ny Otis. John Collins, Joe Wilson, Eddie This was proved in Chicago recently. Allen at the club. Beal, Rozclle Gayle, Gerald Wiggins, Northwestern University presented a found Buddy Collette. Bill Douglass, Barney terest jazz show on radio station WIND. The Bigard, Red Callender, Percy McDavid show, written and directed by student Jazz And Renoir dally and Joe Comfort this k Marie Santuzzi, was called The Jazz Jazz came to Chicago’s Art institute Young said the group is working for Story. It was a narrative presentation recently but not on canvas. the passage of an antisegregation reso­ which outlined the history of jazz from »ugh Gene Esposito’s trio—Esposito, pi­ lution scheduled to be presented to the menh« New Orleans through the modernists, ano; Leroy Jackson, bass, und Bill national convention of the AFM on utilizing jazz sounds as background. Gaeto, drums, with vocals by Lee Lov­ June 10 in Denver, Colo. The show was on the air for 24 ing—appeared in an informal session in “The object of this resolution,” ex­ minutes. the institute’s cafeteria. plained Young, “is to seek the aboli­ The afternoon “recital,” motivated tion of segregated locals within the chron Woody's New Faces by the desires of jazz-loving art stu federation. It encourages the locals to and ’ Woody Herman brought a fresh, East young band to Chicago's Blue* Note re- troupi wntly. Except for the inspiring Bill under Harris, most of the faces were new. Culto The complete personnel for the band Angel i» John Coppola, Dan Stiles, Bill Cas- tignino, Bill Berry, Andy Peele, trum­ bert ] pets; Harris, Willie Dennis, Bob Lamb, mana dance Danny Freeman. Jun Cook, reeds; Jim nonti Gannon, bass; Vie Feldman, vibes; elavia John Bunch, piano, and Don Michaels, drums. Mtioi Migliori and Berry are from Bos­ ton. Dennis joined Herman after a ■tint with Charlie Mingus. Freeman was filling in until Roger Pemberton, working on his master's degree at In­ diana university, could join the band. The band, after a string of college and club dates, is slated to tour Europe in rtroni the fall. -and in sti

Europe As Graduation Gift bands Bassist Larry Richardson, who was perso; graduated from Northwcsten univer­ to be sity this month, was presented with a tour of Europe as a graduation gift. inaica Richardson, who had been working with a trio in the Chicago area, has re American jazzmen Bud Shank, Tony Scott, «nd Bob Cooper joined force«» with drawi CMved army approval for a variety Hungarian guitarist Atilla Zoller and German 1mmboni«t Albert Mangehdorf for prevu unit tour, including jazz musicians. a broadcast over Nord Rundfunk in Hamburg. Germany recently. Left to right: Ghani The tour win take Richa’-dson’s unit to Zoller, Mi ingeUdorf. Shank, Scott, and Cooper. «lei- Down Bent * if j»J do it theamelvis, bat in the event that Bye, Bye Bob Cat rom Vmi this .8 neglected, it will empower the tore co Ii­ CBS TV announced late in May that AFM to require that local union segre- it was dropping the Bob Crosby after­ tate’s di­ f*tk>n be discontinued.” serts may noon variety show for a courtroom-type spacious drama entitled You Are the Jury. Local 47 Swinging Network executives said the move was made because an evening show was The policy of delegates from Local in the works for Crosby. 47 to the AFM convention in Denver was clearly determined by the mem­ ook na-ne bership in a meeting held May 13 to RECORDS tpe riment nstruct delegates from the southern Ctlifomia local. $3,000 For A Cover ge, which Included in a total of 27 resolutions quartets, passed at the meeting was a demand In the increasingly competitive world group for that rebel leader Cecil F. Read be re­ of LPs, u good picture may be worth 29. Al- dictated with all former union benefits a thousand sales. ensemble restored. More and more stress has been placed most of Read's suspension from the AFM in on attractive cover art, although occa nagement 1956 for one year was the most drastic sionally the products tend more toward lucrative, reprisal arising from the Local 47 the erotic than the exotic. be intro­ revolt against James C. Petrillo. AFM With an eye to gathering in devotees ns. president, last year. of the nation’s most popular hobby, In a companion resolution, referred RCA Victor and the Canon Camera Co. to the executive board, the membership The Teugarden family held a reunion of Japan, combined to offer $3,000 demanded that the one-day suspension worth of photography and hi-fi equip­ recently in a «alute to Jack Teagarden ment to winning photographers in a of 10 of Read’s followers be erased on the Start of Jaz* «how on KABC-TV, from the records. sort of do-it-yourself album-cover con­ Hollywood. tmons those present were test. the abon- Jack'« mother Helen, brother Cubby, Amateur or professional photogra­ ithin the and Bobby Troup. Brother Charlie, not phers are qualified to submit color cians has THE WORLD ■bown here, win alwt present. transparencies to fit the forthcoming al­ illywood’s bum title, Hi-Fi in Focus. Drumbeaters Jazz In Israel RADIO-TV said the contest marks, “another step on of the Despite the troubled circumstances forward to the goal of better under­ ng named standing between peoples via art and •urrounding the nation of Israel, work 'Candy1 Is Cooking members: as gone on in the establishment of the communication." rl Bostic, irst school of modern music and jazz. A situation comedy telefilm senes It also draws together fans of two nf ian, John­ The institution is located in Tel Aviv. involving the adventures of a singer the nation’s most expensive hobbies, ton, Eddie with a modern jazz trio, is now in the photography and high fidelity. Wiggins, The school’s director said it was founded because of the increased in­ shooting stage at Co-Ber Studios in Capitol Records, whose covers have s, Barney terest manifested by the people, espe­ Hollywood. The title of the series is varied from the flat and flushy to the McDavid cially the youth, in this country for Candy. lively and artistic, meanwhile, copped this kind of music. The singer will be played by Connie five certificates of excellence from the irking for Advice and technical instruction is Russell, and the jazz piano soundtrack American Institute of Graphic Arts. tion reso­ sought. The school’s address is 3 Za for the series is being recorded by The awards were for the coven, of led to the menhof St., Tel Aviv. Ernie Hughes. At presstime, the pilot the albums, Mexican Waltzes, Tone AFM on film had been completed and submitted Poems of Color, Four Freshmen and to prospective buyers. Five Trombones, Shostakovich Plays tion,” ex­ Ballet Jazz To Travel Shostakovich, and Spanish Guitar Re­ the aboli- The production team consists of cital. ithin the The development of jazz will be David S. Garber, executive producer; locals to chronicled for audiences of Eastern Josef Shaftel, producer director, and Porcino-Hory Band On Jubilee and Western Europe and the Middle Phil Shuken, who wrote the pilot film. East this fall when the Ballet Jazz Name recording and music artists are Strictly a kicks band for .several troupe makes a tour of these areas to be guests on the programs months, the Al Porcino-Med Flory or­ .ader auspices of the International chestra has debuted on wax with an Cultural Exchange Foundation of Loa album for Jubilee Records. Playing Angeles. Sinatra Teleshow to Roll mostly the Jerry Wald book of the late The foundation, headed by Dr. Al­ ’40s, with many arrangements by Al lert Best, president, and Irwin Parnes, The Frank Sinatra Show for ABC- Cohn, the band has been rehearsing ■’inaging director will sponsor the 16 TV is scheduled to begin shooting tn weekly at Local 47. The Jubilee date lancers led bv Archie Savage in a four­ Hollywood on July 8. Of the 36 half­ was recorded in the Hollywood Palla­ month tour of countries including Yugo- hour segments planned, Sinatra will dium. ¿•via, Turkey, France, England, Italy, star in 13 musicals and will serve as Personnel is Porcino, Lee Katzman, Spain, and Portugal The Scandinavian host for the other 23 Bob Hope was Ray Triscari. Jack Hohmann, trumpets; nations also are on the schedule. The being wooed as a possible guest star to Dave Wells, Lew McCreary, trombones; troupe sails Sept. 18. start the series. Flory, Bill Holman, Richie Kamuca, Charlie Kennedy, Bill Hood, saxes; Russ Freeman piano; Red Kelly, bass, Louis Fractures 'Em Jazz Club Of The Air and Mel Lewis, drums. . More than 100,000 jazz fans thronged Disc jockey Frank Evans of Station Mto George VI Memorial Park at KDAY in Hollywood, has initiated a Freeman on PJ Payroll Kingston, Jamaica, to hear Louis Arm “jazz club of the air" centered around Russ Freeman, pianist with the Shel­ •trong and the AU Stars late in May his hour-long evening radio show. The ly Manne group, who records for Pa­ -and 18 of them had to be carried off purpose of the club, said Evans, who cific Jazz Records, has joined the >n s' rvtchcrs. plays only jazz albums in uninterrupted production staff of that firm. His job Police said the crush around the segments, is to encourage bigger sales is “musical adviser in a supervisory Jindstand was so great that the 18 of jazz records and provide more work capacity" to the PJ organization, a Jirsnn» received broken bones and had for musicians. spokesman said, adding that Freeman to be hospitalized. Members of the club get cards enti­ will work directly with the label’s The show was sponsored by the Ja­ tling them to discounts on records and president, Richard Bock. maican government. It was the second local jazz concerts. Evans said he in­ His over-all function will be the tone m recent years that Louis had orces with tends eventually to stage concerts and flexible one of passing on groups, mu­ drawn such a staggering crowd. The host weekly jazz nights in clubs which sic, and instrumentalists to be recorded. kdorf for normally are inactive. The club oper­ to right: previous mammoth turnout was at In practice, this boils down to most of Ghana, during that nation’s freedom ator would split the cost of the musi­ the duties of an artists A repertoire celebration last year. cians with Evans, he explained. director. hi mu Beat Jene 27, 1957 11 The Jazz Concert Phenomenon

It Can Cost A Bundle To Compete In The Packaged Troupe Business: Here Are Some Typical Examples Of Costs Of Recent Ventures

By John Tynan to $6,000, mainly because of a heavy • The aforementioned Cole-Christy advertising bill. Seatie show cost Irv Granz $11,000, A contemporary key by-product of “It’s got to cost me $3,000/$4,000 and to stage a concert at the Shrine jazz is the phenomenon of jazz concert for advertising al^ne,” he explained. with a bill made up of June Christy, promotion, an enterprise with all the He added that Norman doesn’t have the Four Freshmen, Cal Tjader and inherent potential and hazards of a this problem because he doesn’t adver­ Andre Previn, for instance, the esti­ (L piorieer development in the entertain­ mated cost would be $9,000. the i ment industry. tise, handling practically all promotion on his KLAC radio program. “Actually, • Dave Brubeck, who usually ask; that What does it cost to stage a jazz that’s his only edge—the radio,” Granz for—and gets—$1,500 a night, has a tu s concert, and what are the problems said. flat minimum of $1,000 and will not Beat involved? As to the rental cost of the 6,700- consider a lower bid. ture. With this in mind, a survey of the seat Shrine, Los /Angeles’ biggest hall, What about the raw recruit, the jazz concert scene in California un­ the tab is $1,000 for the bare walls beginner in this man-eating, ulcer­ covered more than a few interesting— alone. And another $1,000 for such breeding business? What obstacles doef and some disquieting—facets and facts. overhead as ushers, lights, public ad­ the ambitious youngster face? Pr Bitter rivals for the lion’s share cf dress system and private police force, “As far as obstacles go.’’ said Car­ 150,0 jazz concert proceeds are disc jockey/ and the promoter is all set to launch roll, “there’s just no end of 'em. Natu­ revit promoter Gene Norman and promoter the ballyhoo that, he hopes, will start rally, the biggest one is getting the soum Irving Granz. A third principal, rela­ the turnstiles clicking. money to stage your first run of con­ busir tively new to the field, is young Dick EASILY THE MOST expensive in certs. You’ve gotta fight to get a good ho-in Carroll. the west, Shrine rates compare un­ date, a good auditorium, and, of course, rebel While Norman in the main restricts favorably with halls of comparable a good ¿iow. Then, there’s the weather ress his concerts to the Los Angeles area, size in other Pacific roast cities. For to buck. Bad weather can be your Mast the other two promoters sally north the 7.000-seat San Francisco Civic worst enemy. You haunt the radio and Rad and east from time to time with name Onera house, for example, the cost for TV, waiting for the weather forecast. tions one night is only $485 Portland’s big­ Dane packages directed at audiences from The weatherman is usually at the re­ gest auditorium (4.500 seats) charges Phoenix, Ariz., to Portland, Ore. ceiving end of a stream of curses. Cuga $450, as does Seattle’s 6,000-seater. with Yessir, the jazz concert business is Granz and Carroll said talent costs the I NORMAN HAS DECLARED that really a scary thing.” todav are much too high Norman stat­ Fred packages of BIG names are mandatory Concert promotion may be consid­ if a concert is to be successful these ed that the prices of artists have dou­ Lymi bled. which is certainly true. According ered another form of large-scale gam­ days. Successful in box-office terms, work to Irv Granz. the main reason fo* this bling. that is Porg situation is artist saturation of the the c With his recent Birdland show at concert market. "PUTTING ON A concert is just about the biggest gamble you can calioi the Los Angeles Shrine auditorium, "A few years ago,” he elaborated, Arms Norman put his words into deeds. The take,” Carrol] added. “So many people "there weren’t very many bands and ond 1 result was a packed house. The re­ acts touring the concert circuit. Today to rely upon to make it a success: the newspapers, disc jockeys, and so on. ASC. action of the audience, however, was it’s become big business, and now every- best generally one of frustration. The rea­ bodv wants to get into the act. So This is a very tight business. Above all, the promoter is the guy out on the popui son? Too many acts and, therefore, too we’ve got saturation.” proverbial limb. The agency gets its Capr little of each. Even after the booking agencies got percentage; the artists get their money and wise to the handsome profit to be de­ “A high-powered show like the Bird­ —it’s the promoter who takes pot luck. left I rived from concert bookings, there was land tour ruins the concert business,” “Y’know, when I started in this busi­ said Granz, but in effect he supports a brief period when most shows with a ness, I was pretty stubborn. I wouldn’t in Oh the Norman opinion that a blockbuster plethora of names did pretty well. In take anything unless it was jazz. Now, attraction is the only type of concert that period the price of talent rose— I’ve got to grab at anything that ctunes that can make it. then, as Norman noints out, it doubled. along and looks good. After all, I’ve "Now,” complained Granz, "the art­ got a wife and kid to feed.” Granz’ Nat Cole-June Christy and ist won’t take a price cut. Even though But even grabbing something that Armstrong-Brubeck packages that Un they know attendance has fallen dras­ looks good is no guarantee of success. played the northwest and San Fran­ Good: tically, they take advantage of the A couple of months ago, Carroll latched cisco m May prove that, but he doesn't the s competition between the promoters and, onto a seemingly fine calypso bill. believe in an overloaded cargo of acts. “It’s the fad,” he figured, “and the Goodr with the agencies behind them, keep ¿tone costs sky high. It’s going to take maybe kids’ll jump at it.” “WHAT’S MORE,” he declared, “you Today he doesn’t say too much about can’t throw a jazz concert together a year for the market to level out ment again.” that calypso fiesta fiasco. Recalling row anymore. Careful selection is the key. upon row of empty seats and the high rgan I contend that all the acts don’t neces­ HERE ARE SOME examples of emerj these astronomic figures: nut staring him in the face, he just sarily have to be high-powered. With noted • For his recent west shudders. And resumes planning the a well-balanced show and wisely se­ coast con- dyin’ certs, Benny Goodman's price was next concert. vay ■ lected talent, you have a chance of a So according to latest inventory, the gon<| gross.” $3,500 a night against 50 percent of date jazz concert promoter, as part of his the gate. Ten years ago, however, Nor­ Broth For Norman, Granz, and Carroll, the man said he paid Goodman a flat $200 standard equipment, should have the auditorium costs are prohibitive. Nor­ combined stamina and staying power lured • Erroll Garner this year is turn­ Three man claimed it costs him $5,000 just ing down offers of $1,150 for a one- of an ox, a mule, and Job. Add a little to open the doors of the Shrine. Granz his fi’ mter; two years ago his price was of Croesus’ riches, and he might make new said his total preconcert outlay is close $750. it. JlMU 12 Down Beat YEARS

>le-Chiisty Ì934-1957: A Roundup z $11,000, he Shrine e Christy, jader and the esti- (Ed. Note: Following are some uf ter, with a week’s gross of $55,000 . . . the highlights ami sidelights of music Woody Herman began fronting the lally asks that have occurred in the last 23 years Isham Jones band . . . The AFM ex­ ht, has a us seen through the pages of Down pressed fears of radio, records, talkies, I will not Beat. It’s a special anniversary fea­ and Muzak . . . RCA quietly tested ture.) television . . . Three jazz books ap­ peared: Hugues Panassie’s Le Jazz cruit, the Hot, Charles Delaunay’s Hot Discog­ ig, ulcer- 1934 raphy, and Louis Armstrong’s auto­ ;acles does biographical Swing That Music . . . e? Prohibition went down the drain and 150,000 musicians looked forward to a News dispatches attributed 21 suicides said Car­ to the depressing effects of the song, em. Natu- revitalized night club business . . . The soundtrack put movie pit hands out of Gloomy Sunday, and caused the tune itting the to be banned from the air . . . Jimmy in of con­ business . . . Cab Calloway was hi-de- ho-ing and 18,000 musicians were on Dorsey’s new band was warmly re­ jet a good ceived. of course, relief . . . Chicago’s Century of Prog­ ip weather ress fair featured the bands of Frankie be your Masters, Paul Ash, and Al Trace . . . 1937 Radio began to build musical reputa­ radio and Arthur Cremin, of the New York • forecast, tions, led by NBC’s three-hour Let’s Schools for Music, attributed a wave at the re- Dance show, which spotlighted Xavier Cugat and Benny Goodman . . . Bands »f sex crimes to the “current hot jazz of curses, vogue” . . . Kay Kyser defiantly bel­ usiness is with commercial radio shows included the Dorsey Brothers, Paul Whiteman, lowed, “If playing melody is corn, I Fred Waring, Wayne King, and Abe Art Tatum want to be corny.” . . . Bessie Smith, œ consid- Lyman . . . George Gershwin began Out of Cleveland termed by John Hammond “the greatest icale gam- work on an opera based on the novel, Leonard Feather, British jazz critic, of the blues singers and probably the Porgy . . . Columbia Records acquired made his first trip to New York . . . greatest single force in American popu­ rt is just the catalogs of Brunswick, Okeh, Vo­ Pee Wee Russell was blowing with lar music,” was killed in an auto acci­ you can calion, Perfect, and Melntone . . . Louis Louis Prima at New York’s Famous dent . . . Paul Miller called Duke iny people Armstrong toured Europe for the sec­ Door . . .Jan Garber received $1,100 Ellington’s Crescendo and Diminuendo ccess: the ond time . . . Duke Ellington won the per date for 71 one-niters on a western in Blue “Inferior stuff with a fancy nd so on. ASCAP $2,500 award for the year's tour . . . Ben Bernie, aided by a pre­ title.” . . . The Dorsey brothers were fss. Above best song, Solitude . . . Among the meditated radio feud with Walter Win­ differing on the leadership of their out on the popular tunes were Moonglow, Isle of chell, enjoyed renewed popularity . . . band; Jimmy said, “Tommy just walked f gets its Capri, Love in Bloom, June in January. Paul Whiteman signed a $1,000,000 off because we didn’t agree on a tempo.” leir money and La Cucaracha . . . Buck Clayton contract for a weekly, one-hour radio . . . The Big Apple, a kind of dancer’s 3 pot luck, -eft Earl Dancer to form his own band show . . . Kay Kyser charged that his iam session, made its way into some of this busi- -. . Grace Moore made her film debut singing song-title gimmick was being New York’s choice “society” spots . . . I wouldn’t in One Night of Love. imitated by other bands over the air. New York university invited Vincent jazz. Now, Lopez to lecture on jazz . . . Marshall that comes Steams wrote, “the one colored band r all, I’ve 1936 that had the greatest influence on the 1935 development of modern swing music is hing that Marshall Steams was at work trac­ Unemployment continued . . • Benny probably Fletcher Henderson.” . . . >f success ing the evolution uf jazz . . . Musician Twelve hours after a desperate operat­ nil latched Goodman’s band crashed through and Dick Voynow, antagonized by jazz the swing era acquired momentum. A ing table effort to save his life, com­ o bill. criticism and critics, said, “It’s time poser George Gershwin died . . . Red “and the Goodman dance date at Chicago’s Black­ for . . . some kind of standard to be stone hotel turned into a jazz concert Nichols had the only left-handed bassist established for comparing bands and in captivity, Morton Stulmaker. meh about - . . ASCAP was named in a govern­ musicians, whatever type of music they ailing row ment anti-trust suit . . . Ray Noble play.” . . . Seventeen jazz groups par­ d the high organized a band . .. Louis Armstrong, ticipated in a concert at New York’s 1938 e, he just emerging from temporary retirement, Imperial theater; one of the musicians, nning the noted, “My chops was beat, but I’m Artie Shaw, was inspired enough by it Paul Whiteman, after abstaining lyin’ to swing again.” . . . Cab Callo­ to form his own band . . . Count Basie from records for two years, consented mtory, the way drew 4,300 paid admissions to a came to Chicago from Kansas City . . . to make 35-cent discs for Decca, some- art of his date in Columbus, Ohio . . . The Dorsey Guy Lombardo defined his band’s sound thing he had refused to do during his have the Brothers split up . .„1Art T_.Tatum______was by saying, “Wc try to imitate the RCA Victor recording days . . . “The lured out of Cleveland to play Chicago’s human voice and achieve a combination jitterbug antics of American youth are ing power Three Deuces — - - - - dd a little Bob Crosby formed of tonal beauty and melodic charm. not indications of a mass insanity, but ight make his first band Fletcher Henderson’s .. The Casa Loma band broke the house are, rather, just manifestations of a new band opened at Roseland . . record at New Yorks Paramount thea- healthy exuberance,” classical composer

Jown Beal Ju*u 27. 1957 I i Leo Sowerby told Down Beat . . . W hen cussion instrument, I will lock it up banned strikes of musicians for he Benny Goodman took a European vaca­ and try’ to forget that I ever learned to duration of the war . . . Temporary tion, Guyr Lombardo fronted Goodman’s play.” . . . “I’d give my right arm if blackouts on the west coast brought on band . . . Singer Martha Tilton was I could go over to Germany and do cancellations nf band bookings . . . The offered equal space in Down Beat to away with Hitler,” Henry Busse de­ New School for Social Research in New answer critic George Frazier’s charge clared . . . Twenty-year-old pianist Cal­ York initiated a 15-week jazz course that her singing “stunk.” . . . Down vin Jackson was hailed as the Tatum . . . More than 200 name bands volun­ Beat’s Paul Miller termed Raymond of 1942 . . . The King Cole trio was a teered their services to the U.S.O. . . . (h Scott “one of the most vital forces in “big fave throughout California.” Dave Dexter reviewed singer Jane terij. jazz." . . . Paul Miller again, in a re­ Froman as “the least talented of a Feat view of Art Tatum, said, “His ornate, 1941 long line of pitifully incapable fem flowery style is the essence of bad songstresses.” . . . Stan Kenton’s band ticip taste.” ... In a vigorous race, Henry The Down Beat review of Wayne made its New York debut at the Rose­ Billy Busse edged out Clyde McCoy as King King’s recording of The Waltz You land ballroom . . . Charlie Christian of / of Corn in the voting in Down Beat's Saved for Me and Sony of the Islands died of tuberculosis . . . Artie Shaw lect» annual popularity contest . . . Rudy read, “They stink out loud.” . . . Vocal­ married Elizabeth Jane Kern . . . Zoot Los Vallee made more money than any ist Lena Horne joined the Charlie Bar­ suits began selling well . . . Dorothy writi other musician in 1937; his income net band . . . Red Norvo decided to Collins, 18, was featured singer with regu was $238,744. disband when half of the members of the Raymond Scott band . . . CBS the i his band were drafted . . . The Jay selected Eddie Condon’s Town Hall will Jazzopators for a television program, 1939 McShann band was breaking house rec­ Fl ords at the Casa Fiesta club in Kansas the first for a jazz group . . . Bunny ing Twenty-year-old bassist Jimmy Blan­ City . . . The McShann band cut its Berigan died in New York at the age Hodi ton was signed by Duke Ellington . . . first sides for Decca; Charlie Parker of 33 . . . Johnny Mercer, Glen Wal- ossei Dave Dexter Jr. rated altoist Boyce was in the sax section . . . Claude lichs, and Buddy DeSylva organized pant Brown with Bix, Bessie, Lang, and Thornhill made a radical change in the Capitol Records . .. AFM’s Petrillo an­ in I Evans . . . George Avakian wrote, “The instrumentation of his band, adding two nounced a ban on the use of recordings Esse swing craze (I hope you know the dif­ French horns . . . Shad Collins re­ in jukeboxes and radio, stating his Bj ference between swing and jazz) will placed Dizzy Gillespie in the trumpet feeling that recordings were gradually a co carry on for years.” . . . Fletcher Hen­ section of the Cab Calloway band, after running musicians out of business . .. alysi derson joined the Benny Goodman band Calloway charged Gillespie with throw­ Jimmy Blanton, 24, succumbed to tu­ and as arranger-pianist . . . Chick Webb, ing spitballs at him onstand and Gil­ berculosis . . . The Glenn Miller band thini 30, died of tuberculosis . . . Vincent lespie countered by knifing Calloway’s broke up as Glenn accepted u commis­ -yo Lopez stated that swing has great po­ posterior . . . The Stan Kenton band sion in the army . . . Spike Jones' re­ in tl tentialities as a therapeutic aid for cording of Der Fuehrer’s Face became impr victims of mental disorders . . . Jack a big seller . . . Jean Goldkette said, El Teagarden declared that his brother “In the old days the music business R Charlie “is a greater trumpeter than was mostly music. Now it is mostly an e Beiderbecke.” . . . Don McDougal, a high-pressure publicity.” tensi Miami Beach guitar teacher, set some is tr sort of record by playing 3,960 notes 1943 beca in one minute . . . Nineteen-year-old busi! Anita O’Day was defined as an “ace Frank Sinatra joined the cast of ra­ Fl attraction” at Chicago’s Off-Beat club dio’s Hit Parade . . . Alvino Rey and ing 1 . . . British critic Harold Taylor said members of his band became aircraft tion that Raymond Scott’s “screwy music is workers in a war plant . . . Tenor man He j not true jazz.” . . . Among the IS bands Warne Marsh was a member of a teen­ alwa on hand at the New York world’s fair age band, ages 13 to 16, touring as the mvol were those of Ferde Grofe, D’Artega, Hollywood Canteen Kids . . . Billie diffe Meyer Davis, and Teddy Hill . . . Brit­ Holiday opened at the Onyx club on Whit ish critic I^eonard Feather, visiting 52nd St. in New York . . . Mel Torme, B New York, stated that “British jazz is 17 - year - old vocalist with the Chico the 1 in a horrible state of affairs.” Marx band, signed a singing-acting con­ to jt tract with RKO . . . Dr. Leopold Sto It n kowski told a radio audience that “Duke ways 1940 Ellington, in my opinion, is one of your EI In a Down Beat musicians’ poll America’s outstanding artists.” . . . which found 5,000 ballots being tossed Perry Como became Victor’s answer If y< Ever out as fraudulent, Benny Goodman was to Columbia’s Frank Sinatra ... AFM to pl named King of Swing . . . Fire des­ president Petrillo lifted his ban on re­ cate¡ troyed the Chicago building housing the cordings, in force for more than a year, Three Deuces and Off-Beat clubs . . . Sian Kenton and bandleaders began a scuffle for so a s nr Glenn Miller responded to critics by A Debut recording dates . . . Chubby Jackson true. saying, “I haven’t a great jazz band joined the Woody Herman band . . . A FI and I don’t want one.” . . . Licensing debuted in New York . . . West coast crowd of more than 1,500 attended fun­ can arranger Gil Evans joined the Claude eral services for bandleader Ben Bernie of music for public performance by a hour new music organization, Broadcast Mu­ Thornhill band . . . Tenor saxist Chu in New York . . . Singer Frances jazz sic, Inc., began . . . French critic Berry was killed in an auto crash . . . Wayne joined the Woody Herman band. Led by Jimmy Dorsey and Bing Crosby, havii Charles Delaunay, in a trench some­ have where in France, wrote Down Beat the record industry reached new high in 1944 B that “jazz is not white, nor black, nor sales, with an estimated 120,000,000 discs sold during 1941. tion’ Jewish, nor Aryan nor Chinese, nor Noel Coward wrote a tune called, dow, American.” . . . Pianist Walter Liber- Don’t Let’s Be Beastly to the Germane EI ace was playing jazz piano in a La­ 1942 . . . Howard Taubman, in the New arc Crosse, Wis., tavern and making con­ York Times, termed Eddie Condon “a strut cert appearances in the same town. He The music industry braced to meet virtuoso of the electric guitar.” . . ■ fedii the problems of a wartime America. told Down Beat, “When the time comes Dizzy Gillespie moved in to head u five- FI that I have to use a piano as a per­ AFM president James C. Petrillo (Continued on Page 36) thirty Dowa Beat 14 Junr is for the reniporary orought on A JAZZ SEMINAR fs . . . The ch in New In Which Two Critics, A Recording Executive, And A Musician Discuss. azz cot -se Among Other Things, If Blues Is Essential To The Jan Idiom nds volun- U.S.O. . . . (Ed. Note: The following as a tran­ is true—then too-intense people kept iger Jane scription of a conversation that took putting notes in the wrong place. nted of a place at the apartment of Leonard ERTEGUN: I don’t agree with that. pable fem Feather in New York City. The par­ In the swing era they were perfectly don’s band ticipants were Leonard Feather; pianist balanced. In what he calls the cool . the Rose- Billy Taylor; Nesuli i Ertegun, executive school, tension is falling away and Christian of Atlantic Records and former jazz musicians are becoming relaxed — so .rtie Shaw lecturer at the University of California, relaxed that some of them stand around n . . . Zoot Loe Angeles, and Whitney Balliett, looking as if they are dead. I thin». . Dorothy writer nnd jazz critic who contributes when you see them, you should close mger with regularly to the New Yorker. This is your eyes and listen Though they may . . . CBS the first of a series of such forums that not show any emotion, sometimes the ’own Hall trill appear in Down Beat.) music is pretty tense i program, FEATHER: . Whitney was say­ FEATHER: I don’t think you can . . Bunny ing that he disagrees with Andre read a man’s mind. A lack of reception at the age Hodeir’s thesis that the blues is not may not be due to his failure to com­ Glen Wal- essential to jazz. (Ed. Note: Partici­ municate but your failure to receive organized pants are referring to statements made what he is doing . . . Petrillo an- in Hodeir’s Jazz: Its Evolution and recordinga Essence.) TAYLOR: . . . Well, it’s pretty easy itating hit BALLIETT: What he tries to do by ■ gradually to be dogmatic about something and a complicated system of musical an­ say that in order for us to be really isiness . .. alysis is to get to the essence of jazz, ibed to tu- (Don Bronstein Photo) objective, we’ve got to draw some dark and in the process he strips it of every­ Duke Elbngton and heavy lines to make sure that noth­ diller band thing nonessential—all the furbelows Still Ahead? a commis­ ing goes over either boundary. It gets —you know, the growl, the mute, and to pretty ridiculous proportions at Jones’ re­ BALLIETT: He says the language in the process he dumps the blues and times, because obviously, some of the ace became and the spirit of the blues improvisation out the window. solos worthy of being imitated are last­ Ikette said, ERTEGUN: In my opinion, some­ ERTEGUN: What is the essence? ing music, whether it is Louis Arm­ ic business times when Billie Holiday sings a 32- BALLIETT: He says the essence is strong or Charlie Parker. So this is is mostly bar tune she’s still singing the blues. an extremely variable combination of improvisation pure and simple. Yet. it tension and relaxation which, of course, She sings in the spirit of the blues, so the blues is still there. has something—it is saying something is true, especially in the beat, I think, that means enough to many people because this comes right after this FEATHER: I think Hodeir is refer- ring to the structure of the blues, other­ that they want to imitate it. They like business of swing. it well enough to say, “This is some­ FEATHER: I don’t think he is try­ wise he can’t possibly mean it. I think cast of ra­ thing that should be said again,” and ing to imply that blues and improvisa­ he means the actual 12-bar harmonic in Rey and they reiterate it ad nauseum sometimes ne aircraft tion are not necessarily a part of jazz. ERTEGUN: Not if he uses the word Nevertheless, the original is worth Tenor man He just means that the reverse isn’t listening to. always true—that jazz doesn’t always “spirit” unless it’s a bad translation. r of a teen­ ERTEGUN: There is no essential involve the blues. I think that’s quite Of course, the translation is very ring as the difference between improvisation and different. That’s what I was saying to strange in several places. . . Billie composition. What happens to the com­ Whitney. BALLIETT: But what about impro- yx club on position which is spontaneous, for in­ BALLIETT: He says the spirit and visation? He says that although it is Mel Torme, stance? the language of blues are not essential a key to the music, it is still non- the Chico BALLIETT: Actual composition is to jazz and I say that the spirit is. essential. -acting con- spontaneous, too, in its slower way. It runs all the way through jazz, al­ FEATHER: I disagree with that eopold Sto- ERTEGUN: Who knows how fast that “Duke ways has. It’s a hard thing to put completely. your finger on. BALLIETT: It’s almost like which Bartok wrote some of his quartets? is one of They may have been just improvised. ists." . . . ERTEGUN: It’s a question of order. came first, the chicken or the egg. When r’s answer If you can play blues, you’re all set. you throw it out the window, you still i . . . AFM Every great musician should be able have relaxation and tension, but what FEATHER: I get the impression ban on re­ to play the blues. You might make a do you have it in? that if jazz is trying to move forward han a year, categorical statement that if so and FEATHER: That’s right. Once you by incorporating itself with classical scuffle for » can’t play the blues, ipso facto, he lose improvisation, you’ve lost the whole or extended forms which are more by Jackson ia not a jazz musician. I think this is core of jazz, the heart of it. classical than jazz, it’s not really mov­ land ... A true. ERTEGUN: Here’s a question. If ing forward, it’s moving sideways. Mov­ tended fun- FEATHER: I do, too, but I think it you have an arrangement which is ing sideways and trying to join forces Ben Bernie can also be said that you could have written all the way — every note is in an apparently unnatural way, be­ er Frances hours and hours of improvisation or written—and if that is played by classi­ cause of the musie that has resulted -rman band. 'azz improvised or written without ever cal musicians, they will play it in a so far is just not valid, from cither a having the blues, and you would still certain way. If the same thing is played jazz or a classical standpoint. have authoritative jazz. by jazz musicians, and you use only ERTEGUN: Because a few experi­ BALLIETT: How about improvisa­ tonality and a combination of tension ments have failed, it may not be the une called, tion? If you toss that out of the win­ and relaxation ... If you have jazz best way of doing it, but it’s a start. dow, what do you have left? tone and jazz timber, wouldn’t you call FEATHER: But a start toward ie Germans that jazz, although there is no improvi­ what? n the New ERTEGUN. When you say “blues” are you talking about the blues chord sation in it? TAYLOR: For one thing, Gunther Condon “a ’tructure, the 12 bars, or the blues BALLIETT: That’s a good question. Schuller has some rather interesting litar.” . . • feeling? With this theory, he goes all the way ideas ahout the use of extended forms head a five- FEATHER: That’s the important through and early jazz is defined in of jazz, but I don’t think he’s the man 36) thing, I think. terms of relaxation—which certainly to do it. It’s no reflection on him as a Dvwa Beat J»- 27. 1957 IS musician, it’s just that I don’t think then his whole concept of jazz is pretty of playing. Whatever you find t > a he has enough jazz experience. shaky, because I don’t know of one greater extent in other things like Body I’ve maintained for a long time that giant-early, late, mid-30s, or cool, whi and Soul or something with more ar­ if anybody is going to change the face didn’t have a tremendous respect and monie variety usually is in the pv est of jazz, it will more than likely be a feeling for the blues — whether he sense in the blues. played the blues or not. The spirit of ERTEGUN: Let me ask you one (E jazz musician, who has the facility and ist, technique to say, “This is the tradition, it was either in his playing or he wasn’t question. Do you think a man like York and this is where I’m going to take the really a giant as far as jazz was con­ Lester Young would play a tune like artic tradition and the manner in which I’m cerned. The reason I felt pretty strong­ Body and Soul in the same way if piani going to develop it or change it.” De­ ly on this point is that I made a state­ he had never played the blues? if a bussy actually didn’t go away from the ment once that everyone I liked, as TAYLOR: No. ing i main body of tradition, but added im­ far as jazz musicians are concerned, ERTEGUN: Would his version be conti pressionistic things to it. played the funkiest blues around. This different? FEATHER: That is what bop did to was surprising to me, because guys like FEATHER: Yes. Tatum, whom you normally don’t ex­ the jazz that had gone before it, but BALLIETT: Then you agree with pect to play a down-home blues, can W I now what’s happening to jazz is that me? What Hodeir does is to mention remi it’s not going forward, but sideways, be­ play a real funky blues. All these guys, Hawkins’ Body and Soul and says it Dowi technique notwithstanding, have such a cause they’ve found out probably that has absolutely nothing to do with the “His they’ve reached a dead end and there’s tremendous feeling for it and it comes blues. Therefore, he says, this author­ out at such odd places in their playing. In » no place forward to go. But I feel that izes us to dismiss the language and the u g< another step forward could have been spirit of the blues as inessential to jazz. Brut made, or was started, with Ellington’s TAYLOR: Well, Hawkins is a man betw extended works with Black, Brown, and who has been the master of about six Fo Beige, New World A-Comin’, and Deep different saxophone styles from slap- tritìi South Suite. Those things were made tonguing on up to bop and whatever enee pretty essentially in the jazz idiom, after. He especially has a unique feel­ as I but they managed to say something new ing for the blues which comes out in bank and expand the form. They retained the Yesterdays, Body and Soul, and what­ Cr essential jazz qualities with a certain ever he plays. It’s also in the solo he actio amount of improvisation and the tim­ did on that unaccompanied Picasso. tian; bers of the instruments, etc. I think FEATHER: I think what it all boils putti what was started by Duke in that ser­ down to is that the blues is the essence unsv ies, which, unfortunately, he hasn’t of jazz, and merely having a feeling probi continued himself, has not been taken for blues means having a feeling for from up by anybody else, and all these tan­ jazz. In other words, the chords or the so tl gent offshoots like the atonalists are notes of the chords which are essential ably not getting as far ahead as Ellington for blues are the notes that are essen­ timb did at that time. tial for jazz—the flat third, flat seventh, Tl BALLIETT: What is it that Mulli­ Gerrv Mulligan etc. othe gan is doing with this group he has Sorta Dixie? TAYLOR: Well, I hesitate to over­ a ti now—particularly on that record—the simplify in that particular case because whei sextet thing where he has all these I was talking to a fellow who is very I tend to go back to the spirit. It’s drun contrapuntal passages which, I guess, steeped in classical literature and he not the fact that a man on certain coloi are written. It sounds almost like Dixie­ couldn’t understand what I was talking occasions would flat a certain note, land, but it isn’t. It’s very fluid. about. He had no conception of what bend a note, or do something which is eoun FEATHER: Mulligan has always I was trying to say to him. That was strictly a blues-type device. It’s just been a sort of mixture of schools. why I was trying to explain it, and that whatever this nebulous feeling is coun There’s an element of humor in his then it suddenly occurred to me that I —the vitality they seem to get in the things which is so important, and so couldn’t think of anyone whom I really blues—whatever it is makes the dif­ lacking in a lot of things. A remark­ respected who didn’t have this feeling ference between Coleman Hawkins’ mele able example of how a very progressive for the blues. Body and Soul and society tenor play­ musician (if I may use that horrible BALLIETT: What I’m saying is that ers’ Body and SouL adjective) can go back to the essen­ all great jazz musicians can do that ERTEGUN: To me, one of the most melo tials and do something new on a very with the blues. Doesn’t whatever they flagrant examples is Billie Holiday, as old basis is the Lennie Tristano record­ do with the blues inform what they do I mentioned before. No matter what ing of Requiem in his album. I imagine with anything else? she sings, there’s a blues feeling, a a lot of the Tristano fans were shocked TAYLOR: That’s what I’m trying to blues climate. or bewildered, but that blues shows say. The essence of it is what they do BALLIETT: Even earlier than that, that Lennie still bears out this point with the blues. But for instance, when Red Allen used to work blues in every­ Whitney made about the roots being in Lester Young plays the blues, it’s one thing, no matter what he was playing. tacit the blues, except that there again a thing, it has a certain quality that He would play these long, bending lot of things Tristano plays today might isn’t Kansas City or New York or notes. tacit have nothing whatever to do with the anything. When Charlie Parker plays, TAYLOR: Just as a gag, someone Tl blues and could have been achieved it’s something else—same blues, same we all know was at Birdland one night but without any reference to the blues at changes, same few bars, the same what- when I was working there. This person the all. ever-it-is that he does on this music is was explaining to several rapt listeners of t BALLIETT: I was just thinking the same thing that pervades all his that the music that was being played Mui about the spirit—that one word Hodeir playing—not to the same extent, neces­ by the musicians was a 12-bar blues ennt uses . . . sarily, but it’s all through it. and if they wanted to count it, they afte FEATHER: I think we have to find FEATHER: You mean you think you could find where it started and where Brui out whether he means the spirit or can hear the influence of the blues in it ended. As a matter of fact, they were the letter. Body and Soul or any popular song? really playing Perdido, but the tenor quai ERTEGUN: The translation says TAYLOR: No, not the influence of player in question, who was Budd John­ stan spirit. the blues in terms of a blue note or son, was playing blues riffs, screaming, sonn BALLIETT: He says the language in terms of a growl, but most jazz honking, and bringing the house down. exce and spirit of the blues are nonessential musicians who have occasion to play FEATHER: No wonder there’s so quei to jazz. the blues do things on the blues which much confusion about the nature of H TAYLOR: If that’s what he means, seem to be the essence of their way the blues! with

16 Dowa Beat i find t > a THE GROUP’S repertoire is excel­ gs like Body lent ; harmonically, Dave is not as avant h more >ar- JAZZ PIANISTS: 2 garde as he would have some believe. i the pi. est The much-touted lessons with Schon­ berg and Milhaud are not evident in sk you one (Ed. Note: John Mehegan, jazz pian­ the rather senile romanticism of Dave’s ist, teacher, and critic for the New playing. He uses some classical de­ a man like York Herald Tribune, has written five a tune like vices, such as the ostinato and melodic articles on popular and talked-about diminution, with great skill. ime way if pianists in jazz, each a symbol or leader ues? of a “schooV' of playing. In the follow­ The fine musicianship of Paul Des­ ing article, he analyzes the style and mond is often lost since Dave is al­ version be contributions of Dave Brubeck.) ways present as intermediary between By John Mehegan the time of the group and Paul’s ideas. Brubeck’s presence pervades the group agree with In Discussing Dave Brubeck, one is at all times. to mention reminded of the remark Edward Mac- What Dave lacks as a performer and says it Dowell made concerning Tchaikovsky: he makes up for as an entertainer. do with the “His music sounds better than it is.” There is no doubt but that an aura of this author­ In MacDowell’s case, his music sounds total conviction dominates all his play­ age and the u good as it is, which is not very good. ing; this quality more than any other itial to jazz, Brubeck’s music seems to lie somewhere has brought him the rampant success is is a man between these two poles. he enjoys with fringe jazz audiences. if about six For someone extremely sensitive to Dave is really the Bruce Barton of from slap- criticism, it has been a painful experi­ jazz. His appearance on the cover of d whatever ence for a man as sincere and serious Time magazine with an accompanying unique feel- is Dave “to laugh all the way to the text abounding in such gibberish as >mes out in bank.” “flights of fancy,” supposedly awakened . and what- Critics have been mixed in their re­ millions of Americans to something the solo he actions to the Brubeck quartet; musi­ Dave Brubeck that had been around them unnoticed Picasso. cians have been fairly unanimous in for 15 years. t it all boils putting down the quartet as a dull, Speaking to Dave, one is moved by the essence unswinging group. Just as some of the tools begins to pall after a while. There problem« of Modern Jazz Quartet evolve the sincerity with which he speaks of f a feeling is little lineal relief in Dave’s playing from the instrumentation of the group, jazz, and his role (essentially a mes­ feeling for from the vertical chunks of sound that so the Brubeck quartet, although prob­ sianic one), in the art form. lords or the dominate his concept. Dave has evi­ ably less so, suffers from a lack of re essential dently never felt the oppressive de­ Like any messiah, Dave would like timber. t are essen- mands of modem virtuosity and so more than anything else to possess The Gerry Mulligan quartet on the iat seventh, continues in his sometimes time-hon­ devoted apostles who would go out into other hand, is an excellent example of ored way. the world and preach his gospel. But ite to over- a timber-laden group. For instance, young jazz musicians have not taken ase because when Mulligan’s quartet contained bass, IN THE AREAS of time, the quartet kindly to Dave’s particular concepts of spirit. It’s drums, trumpet, baritone, the following seems always to have had problems of jazz piano, finding it an arid desert for on certain colors were possible: one kind or another. One interesting young swinging ideas. To them the hori­ rtain note, • Ensemble, trumpet lead, baritone insight in this area is to watch Dave zontal line is still the most swinging ig which is eountermelody. play an up tune. At the start, Dave concept, and this is as it should be. e. It’s just • Ensemble, baritone lead, trumpet will beat four and the group can get a 5 feeling is countermelody. fairly swinging sound going. As the THE WORST THING that could hap­ get in the • Ensemble, unison hems. tune progresses, Dave will begin beat­ pen to Dave and his quartet happened: es the dif- ing two at which time there is a sud­ acceptance to the north, east, south, • Trumpet ride, baritone counter- and west coast tune of $100,000 a year. Hawkins’ melody. den change in his ideas since he is tenor play- now feeling two instead of four. Often Brubeck has also benefited from the re­ • Baritone ride, trumpet counter- if the tune is of sufficient length, Dave surgent west coast movement led by melody. af the most wiH even beat one, and again his ideas Mulligan, Shorty Rogers, Shelly Manne Holiday, as • Trumpet ride, baritone tacit, undergo a transition; it is at this point and Jimmy Giuffre, although he has atter what • Baritone ride, trumpet tacit. that he usually resorts to Bach-like fig­ contributed little or nothing, except in feeling, a • Bass solo. ures, to sustain the pulse. There is, the beginning, to the movement in terms of experimentation, struggle, • Drum fours. sometimes, not much pulse left in the • than that, group at this stage, except the exter­ and conviction. ss in every- • Trumpet-bass, drums, baritone tacit. nal beat carried by Joe Dodge and now Dave’s original octet was a Tristano- as playing, by Joe Morello. oriented group which eannot be com­ g, bending • Baritone-bass, drums, trumpet Morello probably handles these prob­ pared in significance to the Miles Davis tacit. octet, the Mulligan tentette and quartet, g, someone There are probably more possibilities, lems as well as any drummer could, but Dave, who is the key figure in the and Shorty and his Giants. But this is d one night hut this will suffice. This will point out the way of the world; Dave got the Phis person the difference between the excitement group, has in the course of some 12 or 15 choruses injected so many kinds of crown jewels, and the palace guards pt listeners of a truly great group, such as the wound up as sidemen. sing played Mulligan quartet, and the inescapable time that it is difficult for the listener 2-bar blues ennui which settles upon the listener to know which multiple of one, two or Brubeck fans usually like Garner, four is prevailing. nt it, they after a little bit of either MJQ or the then Don Shirley and maybe MJQ, but and where Brubeck quartet. Probably Dave’s problems with they usually ignore mainline jazz ; they were A second apparent weakness in the time are most evident in his recent al­ groups, such as the Messengers or the ; the tenor quartet is that Dave is not by jazz bum Brubeck Plays Brubeck; there is Gigi Gryce quintet, groups that can’t Budd John- standards a good pianist although he not one swinging moment on the entire make it because of fringe indifference. screaming, somewhat makes up for this by his record. The originals in the album Dave’s group is now so musically in- ouse down. excellent musicianship, which no one contain a nice romantic feeling in part, grown that any thought of its going there’s so questions. but the playing is very reminiscent of anywhere is pointless, but since it real­ nature of However, even good musicianship Ellis Larkins without the swinging lilt ly did not come from anywhere, why without an adequate array of technical of Larkins. should it go anywhere?

Dowa Beat June 27, 1957 17 drum he pawed so feverishly than by tiie woman he embraced so woodeHy. Two Thumps On ’A Drum TO FOLLOW the flight of Duke’s imagination, we moved from the < ar- a chance of catching on with a wider ibbean to New Orleans to Chicag< to public. Catchiest of all was What Else what purported to be 52nd St., but Thumps Up Can You Do with a Drum?, sung by looked more like a Hollywood tra ,1a- Bailey. This was written by Billy tion of a midwesterner’s dream of the By Leonard Feather Strayhorn. The swmgingest was Duke’s Harlem of the '20s. We jumped f-om Hey, Buddy Bolden, in which Joya cabaret scene to Mardi Gras to cab ret Mu Music History and television history looked and sounded great. Ozzie was to that curious conversion of The were made on the night of May b when, effective in You Better Know It, also Street to what looked to me like the thanks chiefly to the superhuman ef­ written by Duke. steam room in a Turkish bath but was Coi supposed to be a place just off the forts of Columbia Records’ Irving It is hard to single out any scene for Jonn Townsend, who brought Duke Elling­ inoon Pere; special praise, but the New Orleans The only positive achievement m ton and U. S. Steel together, the first segment, with Ray Nance as Bolden, drum television jazz spectacular was pre­ was perhaps the gayest and gaudiest, this motion across the continent, from Willi atmosphere to atmosphere, from planet Wum sented. and the closing Ballet of the Flying to planet, was that it was accomplish«! Saucers, with pink and mauve gowns and 1 In many respects the Ellington­ by jumping—by the jumping Ellington Th Strayhorn jazz fantasy lent itself bet­ floating around on Cloud 7, achieved a band. fittingly ethereal mood, certs ter to TV than to the original LP rec­ No doubt about it, the band j untied. Geor( ord medium from which it was adapted. A Drum Is a Woman certainly was There were superb solo* by Johnny sionii Some of the rich tonal textures of the not a perfect show. The New York Hodges and Ray Nance, who, as you prese music were enhanced by the choreogra­ newspapers were quick to jump on the may know by now, blew the part of forth phy, which at most points was ideally narration—“monotonous,” “pedestrian," Buddy Bolden. Did Buddy—could Bud­ mats. integrated with the music, providing a “pretentious," und “purple prose’’ were dy- -ever sound like that? What a love­ Th sight-sound feast without precedent in among the epithets hurled in the mixed ly thought! the s television annals. reviews. And the singers sang and, as some ary 1 Here, at last, was an answer to the WHAT WAS WRONG with the tele­ of my contemporaries used to «ay, becau complaints that jazz and television are cast had been wrong with the LP in “swang.” Joya Sherrill was good to not s the first place. The quality of fantasy the rar and to the eye. Some of the OUS t incompatible, for the show was a sump­ time, at least, Margaret Tynes, sound­ tuous wedding of visual und aural de­ did not justify the incoherence and lack in th, of continuity in the story line or the ed as if she belonged in front of a an the f lights. band. All of the time that he worked, Carmen de Lavallade and Talley occasionally arch manner of Duke’s lineal narration. And the show fell apart Ozzie Bailey offered suavity of tone Sophi Beatty were the graceful and attrac­ abruptly at the end, with Duke’s rather and ease of phrase; but. he looked as if Jacks tive personalities assigned to the prin­ coy closing line, 'Say, whose pretty lit­ it didn’t feel right to be there, in those again cipal dancing roles. tle drum are you?” places, saying those things, singing cymb those things, to those particular people very BY AND LARGE the show differed The extra time, padded with title­ at that particular time. very little from the record; most of song reprise and closing theme, could DUKE TALKED, talked in time and TH the compliments and complaints leveled better have been used to bring the story Wind at it in the LP review (Down Beat line to some kind of logical ending. But nut of it, talked some nf the time with facility and much of the time without the tl May 2) still held good, except that the despite such faults, and for all the non- film, plus values of the allegorical jazz his­ iazz direction of some of the music, in it. Only the faintest suggestion of his charm came through my black and a car tory were more strongly brought out «•ssence thi^ was a triumphant evening grour in the riot of flamboyant scenes that for jazz, and an epochal point in the white screen. And only the dimmest indication of Th. look the viewer from the jungle to Bar­ Ellington career. appec bados, New Orleans, Chicago, New warmth and wit and meaningful spec­ tacle managed to make its way through and t York, and a couple of unidentified spots •r. Ci between here and eternity. the mass of writhing, twisting bodies Thumps Down that cluttered up the screen so much eral Inevitably, the lucky 200,000 or of the time. In color, maybe all of this was 300,000 who saw the show in color re­ By Barry Ulanov took on shape and structure, made a tones acted very differently from the millions kind of orderly visual sense. Tn black Thi who, watching the black and white A Number of Us, watching the Duke eonve Ellington show on television, were and white, it was loose. sprawling, dis­ screens, probably lost 75 percent nf its organized, with all too few close-ups is nr: visual joys. disappointed. Others I know who saw clun the fancy but all-too-banal and repe­ and variations of camera angle, with While it’s true that Johnny Hodges' changes of composition much too in­ from titious and unruly thing that was In alto sounded no different if you could made out of A Drum frequent to give the music the visual study the bright spangled blue of his sunnort it deserved. eharn Is a Woman felt depth jacket and Russell Procope’s clarinet equally let down. I The music was, as a matter of fact, no mell »wer when the brick red of his shunted to the background. It was don’t know what three shirt was visible, it is indisputable that precisely we expect­ simply a series of cues, except where the show was geared to color values it supported the singers or the dancers, eonce ed, but it wasn’t Thom and was completely successful in this this. und there, too, it was allowed very little respect. life of its own. This wasn’t Ellington’s prese show; it was a show for which some rative As some perceptive viewers may have should have been tie’s ‘ suspected, only a little of the music was prepared for it. The of Duke’s music served to provide ac- live — specifically Candido (who was recorded version of comnaniment and continuity. And even TH magnificent), the Rhumbop number, the Ellington extra­ that, little as it was, was lost much of loose! Margaret Tynes’ singing of the title vaganza doesn’t per­ th® time in u nagging, noisy barrage Marti song at the close. mit anything much of bongo beats. rangii beyond the feeble fantasy that emerged THERE IS NO POINT in analyzing Blind EVERYTHING ELSE was taped di­ -n the television screen. There is no the script. Such banality, such inanity, Tang* rectly from the LP, with one recently story lint of any significance: just a such a hodgepodge does not stand up readii recorded and very charming new num­ handful of stabs at a possible transla­ either to close reading or close listen­ delive ber thrown in (Pomegranate). The tion of jazz history into a musical trav­ ing. pictui singers and dancers lip-synchronized elog. But Duke does. The remarkable and p their lyrics quite well, including the There are no characters that make thing is how well he stands up, or at faint! dancers who at times “borrowed” the much sense, either as persons or alle­ least how well his music does, under John voices of Duke’s singers—Joya Sherrill, gorical figures: just ar> awkward per­ such an assault of the pretentious, the Ma: Margaret Tynes, and Ozzie Bailey. sonification of jazz in the woman into empty, and the aimless, whether of Satie Duke’s narration was live. whom the drum turns, Mme. Zajj, and his own making or of others’ construc­ mixtu The score introduced several individ­ the spastic object of her pass ons, Car- tion. It takes more than this sort >f cheek. ual melodies that should, on the ibee Joe, wlio seemed in the TV version flimflam to knock over a musician of The strength of this major exposure, have to be much more entranced by the his stature. aecont

It Dova Beat June , than by sage played simultaneously on both wood< y. instruments. He closed with a vocal of rf Dune's I Only Have Eyes for You, in which the < ar- reviews he imitated Sarah V aughan, Liberace, ihicagi to and Mr. Magoo. He thanked the St., but rhythm section, mistakenly identifying 1 trai sla- Persip as Percy Brice, and departed. un of the Miss McRae, with Bryant’s trio, was iped from Modcr-n Jazz Quartet, bussy's Sonata for Flute, Viola, and next. She presented, in her delightfully to cab tret Music for Moderns Concert No. 2, Harp. It was handsomely played, and perceptive way, Star Eyes; Midnight of Tha Town Hall, New York City the shifting, often dreamy, melodic lines Sun; They All Laughed; This Will 5 like the were blended into a unit of impres­ Make You Laugh, and It’s Like Getting sionistic sound which waa very pleas­ a Donkey to Gallop. By the way, the h but was Concert lineup: Modern Jazz Quartet: ing. it off the John Lewis, piano; Milt Jackson, vibes; local disc jockey introducing her identi­ Percy Heath, bass, and Connie Kay. The concert was a tribute to the fied her drummer Specs Wright, as emen » in taste of Miss Ajemian and Avakian. Specs Powell. drums; Virgil Thomson, narrator, with Completing the series will be presen­ ent, from William Masselos, piano, and John At this point, another disc jockey om planet Wumnier, flute; Walter Trampier, viola, tations by Mahalia Jackson and Mar­ stepped forward to introduce Garner’s omplished tial Singher, plus the Chico Hamilton trio. After two false starts, the curtain and Edward Vilo, harp. quintet with Miss Ajemian and the Ellington The second in the series of four con­ opened slowly and revealed the trio Music for Moderns Percussion Ensem arriving. The performance consisted certs offered by Anahid Ajemian and ble. J jumped, George Avakian showcased the impres of three tunes, including a rollicking y Johnny aionists and featured the first concert There Will Never Be Another You and n, as you presentation of Lewis’ score for the Frank Broude, Civic Opera House, My Funny Valentine. e part of forthcoming French film, Sait-on ja­ AFTER BRIEF intermission, ould Bud- mais. Chicago Shearing’s quintet came on, playing lat a love­ The six movements excerpted from Concert Lineup: The Dizzy Gillespie Lullaby of Birdland in customary fash­ the score were played in the custom­ band; the George Shearing quintet; the ion. Then followed with five other lunes, , as some ary low-key MJQ fashion and perhap- Erroll Garner trio; Carmen McRae and including A Foggy Day, I Hear Music, I to say, because nf the nature of the piece, did trio, Ray Bryant, piano; Ike Isaacs, and a Shearing piano solo of London­ good to not seem to rise to a climax. The vari­ bass, and Specs Wright, drums, nnd derry Air. Armando Peraza, with three ne of the ous themes, identified with characters Don Elliott. conga drums and bongos, complemented es. sound- in the film, were charming, particularly Frank Broude, a young pre-med stu­ the quintet. of a ian the four-note theme and variations de­ dent at the University of Chicago, has The Gillespie band assembled to close e worked, lineating the leading female character, brought jazz to that campus through the show. The band’s presentation was ’ of tone Sophie. Lewis passed this figure to leadership of the university’s jazz club. more humor than jazz, although there oked as if Jackson and then picked it up later Inspired 'by that“ ‘ -uccess, he attempted was time for a driving Night in Tuni­ », in those against a background of sh'mmering a much more ambitious project: two sia. Diz sang several tunes, including i, singing cymbal work, a device which proved concerts in one evening at the 3,600- Schooldays. With the clock moving lar people very moody and effective. capacity Opera House. toward 1 a.m. and Broude realizing When it was over, he noted, "I’ve that everything after 1 meant overtime, learned more in one night than I time and THE OPENING theme, called Three another disc jockey was sent out to Windows, a triple fugue representing could in four years of business school.” put a halt to Gillespie and the concert. time with The two performances were not ie without the three main male characters in the Gillespie saw him coming and waved film, was stated and developed against money-making. For a number of rea­ on Austin Cromer to xing Over the ion nf his sons the concerts were not successful. flack and a curiously effective bell-ringing back­ Rainbow. The disc jockey, halfway to ground laid down by Kay. The first concert, scheduled for 7 p.m., the mike, retreated, but stood poised to liegan 45 minutes late. In order to ication of The insistent bell background also dash on as soon as Cromer’s last breath gful spec- appeared in the second theme, Cortege, begin the second concert at 10 p.m., it had fled through the speaker system. y through and the third theme, The Golden Strik­ was cut drastically. Despite this, the This time, undaunted, the DJ succeeded, ing bodies er. Cortege, depicting musically a fun­ second performance went on at 10:30. although Dizzy could be heard pleading so much eral procession on the Grand canal, In addition, lighting problems were for more time. all of this was somber and shaded with many present throughout, with soloists often As the curtain came down, Diz could I, made a tones of gray. finding that the spot was anywhere but be seen in midstage, with his hand« . In black Theme No. 6, Venice, was set in on them. clasped dramatically on top of his head vling, dis- convention song style and although it I ATTENDED THE c-xiond perform­ is primarily dance music for a night ance. It began with Elliott, originally IN TERMS OF THE music itself close-ups and audience reaction. Garner seemed ngle, with dub scene in the picture, it stems scheduled to work with Bryant’s trio. from the Golden Striker theme. Because of contract discrepancies and to evoke the most obviou« show of en­ ;h too in- thusiasm from the :-imall audience. the visual In all, the work had considerable after a “15-second rehearsal,” he found charm and suggests a film with some himself on stage with Gillespie’s rhythm However, he could not, because of a lack of time, respond to demands for »r of fact, depth. section: Wynton Kelly, piano; Paul The MJQ split the suite and played West, bass, and Charlie Persip, drums. encores. Elliott projected as a per­ I. It was sonable, able artist caught in a jam ept where three movements in each half of the He opened with a mellophone inter­ concert. Completing the first half were pretation of ’S Wonderful. He followed session he did not create. Miss McRae e dancers, sang with considerable warmth. The very little Thomson and pianist Masselos, who this by playing Laura on both mello­ presented a delightful pictorial* nar­ phone and vibes, including a final pas- Shearing quintet sound, which has ap­ Ellington’s preciable popular appeal, has not hich some rative, and music version of Enk Sa­ tie’s Sports Et Divertissements. changed in voicing or conception from rovide ac- previous quintets, despite changes in And even THE BRIEF PIANO works, based personnel. it much of loosely on a set of drawings- by Charles As noted before, the Gillespie band, y barrage Martin, depict sports and diversions Critic Material for the most part, *pent its time on ranging from Awakening the Bride to stand wanning up. Unfortunately, be­ analyzing Blind Man’s Buff to Golfing and The Woody Herman was discussing cause of the time limit, this proved •h inanity, Tango. Thomson’s comments and his the talents of his daughter, Ingie, futile. stand up reading of Satie’s program notes were and her desires career-wise. Broude emerged reasonably sane but ose listen- delivered pungently and amusingly. The "Ingie has wanted to be a writer. much wiser. He learned the intricacy nf pictures were projected onto a screen, Next year, she’ll begin her journal­ contractual relationships und the value i a r k a b 1 e and proved to be in the moderne style, ism studies at Stanford. We were of judicious planning (who goes on up, or at faintly reminiscent of the line work of talking about it recently and sho first, etc.). He hopes to eliminate the oes, under John Held Jr. and Rea Irvin. suddenly looked up and told me confusion which plagued th> first con- ntious, the Masselos* piano playing of the brief that she finally decided what she cert in future concerts he’s nnw con- hether of Satie pieces was done with a perfect wanted to do. She said she wanted sidering. In years to come, he may ' construc­ mixture of musicianship and tongue in to publicize budding young musi­ well remembei* that as the final cur- ts sort of eheek, cians. tain dropped, Dizzy wasn’t the only usician of The instrumental trio opened the “I almost fainted.” one holding his head. second half of the concert with De­ —gold

June 27, 1957 19 sides. Others wouldn’t allow a rec rd of theirs on the turntable but wan ed to hear the discs they remembered as being an inspiration to them when they ______By George Hoefer started playing.

Jazz, or Hot Music, was still far The mail streamed in, thousands of THE HEYDAY OF jazz record col­ underground in 1934 when two signifi­ questions on who carried the bottle lecting lasted about the same lei, th cant events transpired that were des­ during this and that recording date. of time as did the swing period. S'top tined to have con­ And then the collectors themselves owners got disgusted when persons siderable bearing on started descending on the Banks St. caused them to dig out piles of records the swing era just “catacombs,” at all hours of the day from under mounds of furniture, and ahead. and night, any day of the year. then, after burning their electric power One was the ar­ The Hot Boxer must have taken for hours, walking out with one or two rival on the scene hundreds of persons out to the South plates costing a dime each. of Down Beat in Side of Chicago to hear the late Jimmy Then came World War II and the July. Even though Yancey or Cripple Clarence Lofton, scrap drive. All the old records that the early issues were either in their homes or in some tavern. could be accumulated were thrown into spasmodic in coming Many well-known jazz musicians vats to extract the shellac. After the out and the musical were invited to the Hot Box’s cellar war, the long-playing record was intro­ H instrument firms to audition themselves on the Ansley. duced, and record collectors went back (Col used pictures of Car­ The idea was for them to verify their to buying their music on records as rock men Lombardo in presence on a particular beat-up ob­ they were released by the manufactur­ with their advertisements, the new publica­ scure record that most of them wished ers. mer tion was soon to become the musicians’ they hadn’t made in the first place. Down Beat keeps up with the modern kazc bible. And the musicians involved were They were all made speechless by the music trend, while the Hot Box writes beat of the swing variety. record collection and usually had a ball obits and reminisces, and Charles Ed­ It The other event, which was especially listening to records. Some liked better ward Smith turns out erudite treatises illus significant to the Hot Box, was editor than anything to listen to their own on New Orleans jazz. the Arnold Gingrich’s acceptance of the bop article Collecting Hot by Charles Ed­ poin ward Smith, for publication in the but February, 1934, issue of Esquire. perspectives bit ’ Smith’s piece revealed the existence ------By Ralph J. Gleason of a few jazz buffs who collect old Tl phonograph records and found on them You Don’t Know how lucky you at the subway station at 51st St., but he a treasury of kicks made up of hot are that you can go to your neighbor­ not always. shri' instrumental solos by such jazzmen as hood newsstand and pick up a copy of Those were the days, my lucky still Louis Armstrong. Sidney Bechet, Leon Down Beat every two weeks and find friends, when there was absodouble- 0 Rappolo and the bands of Henderson, out what’s going on in the fields of lootly no jazz played on the radio and bia Ellington, Nichols, the Chicago Rhythm music in which you no one to make an announcement about strir Kings, to name a few. are interested. where, say, Sharkey Bonano was play­ pan; Back 23 years ago, ing, or Fletcher Henderson. It was SMITH EVEN TOLD his readers fellc when this journal scuttlebutt or nothing until Down Beat bon« that they didn’t have to pay the full of the arts and sci­ came along. price in regular music stores. The junk berp ences was begun, Jelly Roll Morton played the Onyx Gall shops, Salvation Army dumps, and sec­ there was no such club one time and not 10 people out­ ond-hand furniture stores were loaded pian service for the cus­ side the immediate club personnel knew alon with jazz classics at a penny and a tomers. What I mean it. Bessie Smith sang at the Famous dime apiece. hav< is, if you wanted to Door one Sunday. Roy Eldridge, W That did it, and before long persons know where Big Sid Wingy Manone, Chu Berry—all the Insf from all walks of life, all income levels, Catlett was playing jazzmen of the time played here and Cuti and all age groups were haunting the you had to find out there on occasion, sometimes for two Prel sources of old wax. The shop owners yourself. There was weeks, but you had to know a friend were raking in unexpected pennies and no place you could go and look it to find out. rasp gave up trying to understand what it up. And if you wanted the address of When they started having jam ses­ alw¡ was all about. Old records were to them a club like Small’s Paradise or the sions at the Plaza on Friday after­ Brittwood, you hoped they had a phone Tab like old newspapers. One dealer in noons, it was just as bad. You never haut Florida used them for “a fill” in a and you could find it in the directory, knew. One night I was sitting in the because if they didn’t, you had to trust Blut swamp. Onyx nursing a bottle of Piel’s for two Her The shelves of the older music shops the cab driver had heard of it. hours and at 3 a.m. a fat pianist sat Even 52nd St. was behind a curtain down, name of Waller. He was followed and were stripped of all their Gennetts, Vo­ (D. calions, and Okehs. The collectors who of silence. Once in a while one of the by a fiddler, another piano player, and had operated before Smith’s disclosure clubs would accumulate enough change a couple of saxophonists — all from to make a payment on its newspaper of their secret vice swallowed their dis- some new band led by a guy named H content at the state of affairs and bill and a small ad would appear, but Basie. I got out of there at 8 a.m. and only briefly. thin started to devote their time to fell asleep in the subway and woke up a sn discography. It was like that all through the ’30s. in Van Courtland Park. of t this To know that Jimmie Lunceford was Down Beat started running playing at the—was it the Bandbox?— YOU KNEW ABOUT Benny Good­ choi column in September, 1939, as a corner on 52nd St. you had to walk past the man because he was front page news. and where collectors could obtain and give joint and see the sign. And to know But the rest of it was a secret. It’s and information regarding hot vintage rec­ who the Sunday afternoon guests at hard to imagine today, but the word star ords. the upstairs jam sessions at the Fa­ went out all over town when Hawk T mous Door were, (the old, OLD Fa­ and Chu were uptown at some club the AN INTEGRAL PART of the early and everybody got in cabs and went up KL- Hot Box was The Collector’s Catalog, mous Door) you had to be there the previous week and hear the announce­ there, most of them too late. sic. which always was appended to the But it had its good points. It was wor column. Many strange connections were ment, or maybe Ernie Anderson could tell you, or Milt Gabler. more fun, for one thing, because you hen made through that portion of the Beat. were in a spirited chase, part of it %' Everything from trading records, warn­ I’LL NEVER FORGET with what joy yourself, and not everybody knew. And ing against frauds, promoting romance, I bought my first copy of Down Beat. then there were the stage shows. I Mm and locating missing persons was I got it from the hatcheck girl at the heard Lunceford seven times in one ner handled by the Hot Boxer. Onyx club, slipped me for a quarter like week at the Apollo once. Nev The banner heading of the original a deck of French post cards. In fact, You can read about it in the Beat columns carried this columnist’s ad­ you almost had to have a connection now. Then you had to dig it up for LC dress: 2 E. Banks St., Chicago. Oh, to get a copy in New York. For a while, yourself. Maybe that’s why the ones man! what memories that brings back. if you timed it right, you could get it who did lasted so long. It was a ball. A

20 Down Beat Jan . a rec rd mt wan ed mbered as when they music in review record col­ Jan Records • Blindfold Test • In Person me length ■riod. Sh ip Popular Records • High Fidelity • Radio-TV n persons Tape Recordings • Jazz Best-Sellers • Films nf records uture, and ¡trie power one or

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Down Beat Records are reviewed by Dom Cerulli, Leonard Feather. Ralph J. Gleason, Don Gold, and Jack Tracy and are initialed by tho writers. Ratings: A A’A’A'A Excellent, AAA’A Very Good, AAA Good, Fair, ★ Poor.

Gene Ammon* IUNKY—FrucUga 12' LP 70831 Fiat Sinai King SiMi Fnnkyt Sulla By Sunlight. Laughod. ParMmMli Barbara Carrail, pl«—. nd voaala Pmouel. Ammona. tenor; Art Farmer, tram, pet Jaekia Mel»an. allot Ke—• Burrell, guitar I (Tracks 4 and 9); Joe Sahulnran, baaa* Joe 4 Mal Waldron, piano | Doug WatUna. bam| Petti, drums. Down Boat's Arthur Taylor, drum. Reting R-Ar* Ratingt

tl Homo Kntorod Mr Mindt Om Lifo to Lio* l never contrived. Ho Moon Al Alli Tho Moot Boantifnl Ciri 1« the Although there are 10 tunes here Name. World. instead of the customary dozen so often associated with salable merchandise, I would have preferred a smaller number. Street Red—« i AA'Atti While Collette creates lustrously within TUNNY FACE—Verve 11* If MCV-2043- Loft these 'lomewhat time-limited frame­ City State d to works, it would be gratifying to hear Ü7T

Bmm Coin» OnTt Clap Ya’ Hmdu Lot’» Call th. him in less confined quarters The two more lengthy explorations here, Rain- own Beul June 27. 1957 23 bow and Fall, are among the most suc­ Sonny on the record. (Our spies foui d cessful. out anyway.) (L. F.) There is much of value in the three Jimmy Druchur rhythm sections backing Collette here. Pli» CRAWLING WITH JIMMÏ HEUCHAK — Contemporary Shreve, now with the Lighthouse All­ Calnu Spring» ; Stars, maintains excellent communica­ Hating: Final Selection tion with Collette throughout. Goodman Personnel: On IP A Special, Treble Gold, Bai» The gods were not looking out for Haute, and Final Deuehar, trumpet; and Dolney support Collette tastefully, Sonny Criss when they wrought the Derek Humble, alto and baritone| Tubby Hayes, particularly on the moody Fall, where coincidence that put his Cole Porter tenor) Ken Wray, trombone) Vie Feldman, Goodman contributes a moving solo and piano) Lennie Hush, bass) Phil Seamen, drums. LP on the market so close to a posthu­ On other tracks, Stan Tracey replaces Feldman, Dolney uses mallets to sustain the mood mous one by Charlie Parker. Regarded Tony Crombie replaces Seamen, and Hayes is quite effectively. Manne and Vinnegar quite subjectively, though, Sonny’s LP omitted. remain valuable friends. is a healthy experience. His robust Rating I AAA Jackson, in a group essentially more excursion into the world of continuous This collection of modern sounds from creative than the one he headed «• eighth notes (always with the occasion­ Britain features the composing, arrang­ cently, shows the too-often submerged al triplet to break things up) swings ing, and trumpet playing of Deuchar, ability he possesses. Note the delight­ in the confidently extrovert manner on 26. His six compositions take their ful Jackson-Vinnegar interplay on An­ the neo-omithologists. and there are names from well-known brands of Brit­ other You and Buddy Friedman, cur­ frequent interludes by the Messrs. ish beer, which accounts for the rather rently with Buddy DeFranco, and Bunker and Clark. strange album title. Peters make worthwhile contributions, Criss’ work might have even greater Deuchar assembled some of the young too. impact if he paid more attention to and/or experienced, modern jazzmen in Primarily, however, it is Collette who shading. He expresses himself so forc­ Britain for this LP, which was record­ makes this the listening ball it is. ibly that one has the impression he ed in two sessions one year apart, in His inventive clarinet makes Nice is cutting these tunes with a pair of April of 1955 and 1956. This means Day a bright, expressive entity. He shears where at times he’d have done that some of the efforts are two years plays alto, the brisk Another better with cuticle scissors. For this old (IPA, Treble, Bass, and Final), a You, without an allegiance to Bird. reason such titles as All Right and vital period of time, particularly in His flute sound is lean and direct, cap­ Night, on which the vibes took the the case of young musicians striv ing to able of setting extended moods, as on melody while he played obligato for the mature in jazz. Unfortunately, I ha\e Rainbow. Although there is just one first half chorus, get a better mood than not heard any of the members of this tenor track here, Buddy, he plays that others on which he blares out the group recently. instrument with comparable confidence, theme himself. The tone is particularly Based on the sounds contained in this drive, and creativity. jarring on Just, but he does get a LP, Deuchar has valid jazz statements In this world of derivative, motion- more restrainedly mournful mood on to make, but is not consistent in his without-progress, Love for Sale. efforts to express them. This is applic­ ward to have Collette on hand. It is The liner notes are exquisite: lots of able to his composing and trumpet significant that while much is accom­ data about such vital matters as who ability. There are moments when he plished here, there are signs of greater acted in Rosalie in 1937 and what kind succeeds in both respects, but for the accomplishment to come. (D. G.) of lathe was employed for the tape-to- most part his work is not memorable. Sonny Criss SONNY CRISS PLAYS COLE POR PER—Im­ disc transfer, and no space wasted on Generally, the major flaw in the LP perial 12* LP 9024: I Love Yau; Anything Coe»; such trivial details as who played with is one of inconsistency. In addition,

MT WB COli

Shelly Manno, Erroll Gamer Duke Ellington Ella Fitzgerald Nat Cole Miles Davis Four Freshmen Friends Concert by the Sea At Newport Sings Rodgers After Midnight Round About Four Freshmen and My Fair Lady Columbia 083 Columbia *34 and Hart Capitol T 702 Midnight Five Trumpets Contemporary 352' Verv, MGV 4002-2 Columbia *4* Capitol T M3

Here are the 20 best-selling jazz record albums in the country. This biweekly survey is conducted among 300 retail record outlets across the country and represents a cross section of shops, not just those which specialize in jazz

Ella Fitzgerald • Ella Fitzgerald Duke Ellington Louis Armstrong Cole Porter Drum Is a Woman Ella and Louis Vens MGV4Q0I-2 Columbia *57 Venie 4003

II 12 13 14 15 Modern Jazz Metronome Brubeck and J & IC Four Freshmen Nat Cole Quartet All-Stars At Newport Four Freshmen and Love Is the Thing At Mesic Inn Cla« MGC-748 Columbia *32 Five Tiombonii Capitol T 824 Atlantic 1247 Capitol T 763

16 17 18 19 20 Dizzy Gillespie Gerry Mulligan George Shearing Erroll Garner Johnson - Winding World Stal-smon Mainstream of Jan Lotin Escapade Most Happy Piano J 6 K Plus 6 Norgran MGN 1084 EmArcy MIDI Capitol T 737 Columbia *3* Columbia 8W pies foui.d there are varying degrees of compe­ tence w-ithin the group. Humble is adept YOU NEED on alto but less so on baritone. Hayes, »EUCH U< - 21, shows signs of developing into a IP A Spacial; hard-swinging tenor man. Wray’s ef­ Bot» Houe¡ DISCRIMINATING forts are not exceptional. Feldman, 22, a Gold, Bat» is living up to some of the potential ar, trumpet; evident here as vibist with the current rubby Hay/'s, ie Feldman, Woody Herman herd. Tracey, somewhat imen, drums, nf a Monk disciple, is less impressive sec Feldman, on piano. The rest of rhythm section nd Hayes is has little solo space but is relatively iimmy inspired behind the horn men. unds from giuffre Of the six tunes presented (sensible g, arran g- programming, by the way) Deuchar, ¡axed, flowing composition, and Bass, ,ake their a tightly voiced theme, find the most is of Brit- success. IP A is a medium-tempo excur­ the rather sion with an undistinguished melodic line. Colne is a Latin-inspired tune. the young Treble is more rhythm than melody, azzmen in and Final is a blues-inspired string of as record­ LUSH LIFE choruses. apart, in A point in Deuchar’s favor is his tiis means ability to create, in structural terms, two years tunes which are more than mere riffs. Final), a He tends to think of over-all form in mlarly in mooney writing for the group, instead of writ­ striving to ing a beginning and end and letting ly, I have soloists reign unsupported between. rs of this Solo space here is adequate, but Deu- char has been astute enough to w’rite, red in this instead of frame. If he could construct itatements melodic lines within this concept of mt in his the w’hole, his creations wrould be more is applic- rewarding. (D. G.) trumpet when he Dave Hildinger it for the Till YOUNG MODERNS—Baton lit' LP 1201; ,eCOB^ lemorable. Punrod, Tom Swift; Laiy Afternoon, Blurb, Play in the LP Struct, The Switch, Hitter Snow, Two Sleepy People, It*, You or Bio One for Me, addition, Personnel. Hildinger, pi jno , Bill Stanley, baa. and tuba; Ed Thigpen, drum*; trumpet! Norm Marnell, tenor.

There is little of value rn this album except the occasional flashes of origin­ ality by the trumpet and the tenor anti the indication, on Two Sleepy People, that the pianist has more to offer than The New 1957 is displayed here. KONITZ ¡INSIDE Unfortunately, this album seems to HI-FI demonstrate that too many musicians JAZZ RECORD want to show it all now when they have a chance to record. The writing is over­ exotic, tricky, and mannered; the play­ REVIEWS ing is too determinedly hard swinging. rethmen I would like to hear them a year from thmen and rampati now’ under more relaxed circumstances Every collector, fan or listener must >1 T 483 just blowing. have JAZZ REVIEWS of every jazz On this effort, they perform more ad­ mirably on the four nonoriginal tunes disc reviewed in Down Beat in 1956. for the diicriminating collector, than on Hildinger’s own numbers. Over 200 pages. collect Atlantic'! now long Play releate (R.J.G.) records, enjoy listening to them or offer* tome very »pedal kick». The »wave intime «:ng itylingi perhaps don't understand them at ns in the of Joe Mooney and Bobby Short Dick Johnson 300 retail are in the cla»» of caviar nnd all . . you can't afford to be with- vintage wine to devotee» of dif MUSIC FOR SWINGING MODERNS—Entire? out this valuable book another day. s a cross lerent ballad» and »how tune» 12* LP MG 36081: Thu BtU, of

Beat June 27. 1937 He already has the most important prerequisites—tone, technique, and har­ monic intelligence. MUSIC TO LISTEN The choice of tunes is excellent ex­ cept for the corny Honey Bun, which he ends with a straight arpeggio as if TO BARNEY KESSEL BY glad to be rid of it. We could have done CONTEMPORARY C3521 without the phony reverberation <>n in CR’s full Poinciana and You’ve Changed. audible The album is almost a one-man show, range HI-FI: with Johnson featured solo from start to finish on several tracks; however, Cheerful Little there are some satisfactory fours with the drummer on a couple of items, and Earful, Makin’ Havemann is heard in a few solos. He Whoopee, swings but sounds harmonically shallow My Reverie, on Bun, has an agreeable passage on Blues for a Born. The quartet as such is unimpor­ Playboy, Love is tant; the LP’s value lies in the presen­ tation of what may be a significant new for the Very talent. (L. F.) Young, Cari oca, «T» Mountain Greenery, Alex Knlluo Indian Summer, ALEX KALLAO TWO IN CONCERT. UNIVE«. Gone with SITY OF OTTAWA—Batea 12* LP 12Ogi laj. laby of Birdland ; Tenderly; Lava far Sala; Ya»* the Wind, terday»; If» dll Right with Ma; Lunar Man; Bach-Organ Prelude in C Minors St. Lauda Bloat Laura, I Love You, Personnel: Kallao, piano । All Mohammed and Fascinating Jackson, basal Oliver Jaekaon, drums Rhythm Rating: driHrk This is a most attractive album; not Stunning new sounds ... Barney, who made a clean sweep of top honors pace-setting, style-forging music, but as the nation's favorite guitarist in the latest Playboy, Metronome, Down Beat all-star thoroughly enjoyable, delightful, spir­ polls—brings you a dozen of his own buoyant arrangements for guitar, woodwinds and ited playing of an excellent program. rhythm section. “He has,” to quote Andre Previn’s liner notes, “exploited the possibilities Recorded live at a concert in Ottawa, of these instruments with knowledge, charm and humor... and to top it off, there is Canada, it captures the elusive differ­ always Barney himself, happily and securely wending his way through chorus after chorus ence between a good concert audience and its reaction on the musicians and a with the assurance and inventiveness of the master that he is.” studio performance. Here is a perfect Barney* other If HI-FI long imaging album*: Eni Like, C3S11. Keud Plag* Standard*, example of a group rising to heights on C3S11. To Swing or Not to Swing, C3S13. each U-»8.. If not at gour dealer, order pp. from— a particular occasion. CONTEMPORARY RECORDS 8481 melroee place, los angeles 46, calif. Even in the occasional linking of jazs and classical music, there is nothing new in the album; it’s not what they do at all but how they do it And for what it is (straight, unpretentious, good-humored, and good-time jazz), it is top-notch. I found the album absolutely de­ lightful and suspect you will, too. The cover photo, by the way, is a complete 'Illy Sincerest 3kanki gas. (R.J.G.)

Stan Iwvey to tke GRAND STAN—Ratklahrnn 12* LT BO TI. Tartarday., An gal Caka, Why Do I Lane Yo.h Crand Smi Hit Thal Thing. Biao* al Swnrltoi I Cal In Colieoi Tiny*« Tnnn. lmerica Panonnalt Levey, drawl Conte Candnli, tram pet) Biehle Kamnea. toner ( Frank Roaoliae, trombone | Sonny Clark, planet Leroy Vlnorgar, Doting. This is a free-blowing west coast session, as opposed to the Rogerian "Moonglow" — "Picnic" ft Morris Sfoloff (on Decca) style, which has caused such violent reaction in other geographical areas. However, it is not the best example of Voted bett Instrumental Single in Down Beet's 1957 Disc Jockey Poll. it one could wish. Candoli, who alter­ nately seems to be a shadow of Dizzy Gillespie and Miles Davis, is slightly hung up between them on this session HEAR THE LATEST Jimmy Lyons and though he comes out more Miles than Diz, it’s a hard struggle and one JAZZ LP RELEASES which leaves him, and the listener, The West'« Leading Jan Jockey rather exhausted. ON His best work is his lovely chorus on WEDNESDAY THROUGH SUNDAY Blues at Sunrise, one of the best tracks WAXING HOT (and cool) on the LP, a lovely, moody thing with Midnight to 2 A.M. a nice riff which helps it to cook. WITH Aside from Conte’s eclectic solos, DICK BUCKLEY KNBC. 680 ON THE DIAL Kamuca blows in his best uncomplicated executive style. On Angel Cake, the 7-9 PM Monday thru Friday 40.000 Watte Clear Ckiaael other really good track, (both good ones, by the way, were written by 'ANIB, Chicago 97.1 on FM AUDIBLE FROM CANADA TO MEXICO Clark) he builds a fine, intelligent, always swinging chorus that really wails.

Dowa Bast mportant Clark, a very good pianist just com­ , and har- THE ing into his own, is featured on Why Do I Love You?, which he plays at ßal Afastei ellent ex- Nashua tempo, as Babs would say, and m, which wins going away. Levey has a solo on pgio » if Hit That Thing but otherwise contents have done himself with a straight rhythm job, *ation on which he does excellently throughout. ped. AUE ON Rosolino has several good choruses, nan show, and Vinnegar is always right there rom start where he should be, like a life saver. however, The notes are in a class by them­ ours with selves winning, temporarily perhaps, terns, and Pacific Jazz the freestyle superlative handicap of solos. He the month. Rosolino is said to be “truly JUST RELEASED ly shallow incomparable” and “such trombone issage on playing doesn’t happen often” and unimpor- Why Do I Love You? is swung at a le presen- tempo which makes "such an accom­ icant new plishment amazing” and “you have got to hear this one (Hit That Thing) to believe it.” (R.J.G.) (More Reviews on Page 28)

T. UNIVEK. 12O«i IU- v Sealey Yea* Lawr Mm; my favorite Lomí» Bbm. Mohammed jazz record (Ed. Note: Following is the fourth Ibum; not prize-winning letter in Down Beat’s tusic, but regular favorite jaZz record contest. CAL TJADER 5ful, spir- The $10 prize goes to John Davis, rogram. R.F.D. #1, McBaine, Mo. JAZZ AT THE BLACKHAWK n Ottawa, (You can state your case in print ' Recorded on the spot at the Black­ ive differ- j, mr and win $10, too, by telling us in »50 hawk in San Francisco and a gas of audienee words or fewer which selection in your an album" — Max Weiss of “Jazz ans and a T MULLIGAN jazz collection you’d be most reluctant Tomorrow” a perfect to give up. ieighte on (Remember, your choice is unlimited. JUST RELEASED It can be an entire LP, one track from ng of jaxs an LP, or a single 78-rpm disc. Send s nothing letters to Down Beat, Editorial Depart­ ohat they ment, 2001 Calumet Ave., Chicago 16, . And for HL) -etentiouB, Duke Ellington’s Black and Tan Fan­ CAL TJADER’S * jazz), it tasy remains pertinent because al­ though jazz has progressed since 1927, LATIN KICK utely de- people have not. Jazz must still convey , too. The painful impressions of an audience as . complete seen by its entertainers; an audience which remains largely unaware of how much it may amuse its clowns. It is this awareness of the unexpressed ten­ sions which force us to reduce art to r ver ti. Votiti anodyne, which has always been the » 4 thornier part of jazz: The compassion of the blues shooters, the mordancy Mdeli, tra»- k of Charlie Parker, or the anger of »y VlaM*ar, i aircu Charles Mingus. No musician has seen his audience CAL TJADER’S LATIN KICK more wholly than the Duke, and in the "One of the most swinging Latin al­ rest coast T HAMILTON period before he became a courtesan bums I’ve heard" — Max Weiss, Rogerian (albeit a most graceful one) to the again. eh violent PACIFIC JAZZ 1224 public, Duke wrote “Tones Parallel" cal areas, to all of us. Black and Tan Fantasy, xample of CHET BAKER Ä CREW was one of the first examples of a mood TJADER 12” on ivho alter- sustained through composition within of Dizzy jazz. As such it is a wonderfully ap­ s slightly 3202 Mambo With Tjader posite whole. Tjader Plays Tjazz is session The theme, which occurred to Buber 3211 ore Miles Miley “In an old colored church, with 3216 Ritmo Caliente e and one the windows busted and dust all over 3221 * Tjader Plays Mambo i listener, everything,” has just that kind of 3227 * Cal Tjader Quartet (Jazz) violated dignity. Buber’s solo is the 3232 • Cal Tjader Quintet (Latin) chorus on ultimate exposition of the growl-trum­ est tracks pet: a style combining vaudeville and 3241 Jazz at the Blackhawk hing with poetry, mocking, accusing, and pitying, 3250 Latin Kick cook. all within the deliberate limitations of itic solos, that style. And in the coda Duke man­ ♦•till at $3.9C implicated ages to rescue even Chopin’s Funeral Cake, the March, from banality by scoring its >oth good lugubrious theme in irreverent brass. Write for new catalog: Titten by J, CHET Perhaps this is the function of good Fantasy Records ntelligent, jazz and good clowns—to bring dignity iat really T BAKER »•ven to cliches. 654 Natoma San Francisco, Callf. koWB *Mt June 27, 1957 Norw-Prpper-Robert— Wiggin«- altoist about today—he has somethir ' Tucker-Morel 1« < to say and the means with which ti blue note COLLECTIONS express it. Tenor Bloo»; You're Drivin* Mo Crary; Sweat Accompaniment is most able, witn THE FINEST IN JAZZ Georgia Brown; Little Girl; Pepper Steak; Have You Met Mi»» Jone»?; Yardbird Suite; I Don't Tucker showing why he is gaining eo SINCE 1939 Stand a Ghost •/ a Chance with You; I've Got much respect among the west coastei i the World on • String; Straight Life. who have heard him, Freeman soloing Personnel: Red Norvo, vibes; Art Pepper, alto and tenor; Gerry Wiggins, piano; Howard Rob« well in addition to background dutie , and Flores relying mainly upon firm ORGY but unostentatious brushwork to mo '» the group along. Recommended chiefly for the salty According to Don Clark’s jubilant Pepper, however. (J. T.) RHYTHM notes, “The decision to do this album was quite sadden, caused by the fact that drummer Joe Morello was in town Sonny Rollin« for two days.” Although the notes make SAXOPHONE COLOSSUS-—Preatiga 12* LP it inexorably clear that Morello is “one 7079: St. 1 homa» ; l'on Don't Know What Love I»; Strode Kode; Moritat; Mua Saran, fantastic drummer” and that the other Personnel: Rollins, tenor ; Tommy Flanagan, five men are professionals, the results piano; Max Roach, drums; Doug Watkins, basi of the session cannot be described using Clark’s adjectives. There is an inconsistency present that Almost as if in answer to the charge prevents the LP fmm being thoroughly that there is a lack of grace and successful. Pepper, for example, blow ■ beauty in the work of the New York mediocre tenor on Blooz, yet communi- hard-swingers comes this album in cates warmly alto on Yardbird. which Rollins displays humor, gentle­ ART BLAKEY Norvo dashes through Georgia, yet ness, a delicate feeling for beauty in doesn’t solo on Crazy, despite the men­ line, and a puckish sense of humor. And tion m the notes that Pepper arranged all done with the uncompromising Orgy in Rhythm the tune for alto and vibes. Roberts swinging that has characterized them plays well on the brief Little, but has all along. It’s fantastic. little opportunity to express himself at The treatment of Moritat, for in- A Night in Percussion. any length throughout the album. stance, or tins in The Pepper originals, Blooz, Steak, particularly interesting statements and 9 drums, piano, bass & flute. and Straight, are undistinguished. They restatements of ideas. The latter tune Vocals by Sabu and Blakey. are more introductions to blowing than is an especially compelling work. From all-encompassing entities. Straight, by the fascinating bass introduction, BLUE NOTE LP 1554 the way, is a way up After You’ve through the discontinuity of Sonny’s For complete cotolog write to Gone. first chorus, the piano solo, the duet be­ Morello, Tucker, and Wiggins provide tween Sonny and Max, on through the BLUE NOTE RECORDS excellent support throughout, but the rest of the piece till the final fade out 41 West 63rd St, New York 23 efforts of Norvo, Pepper, and Roberts —it is all modern jazz of the first rank. are not up to their best. This may be Rollin.*.’ playing on the slow ballad, due, to some degree, to the number You Don’t Know What Love Is was a of tracks included here or a lack of moving experience for me to hear. K thorough preparation for the set. Also, gentle, easy, careful man—rather like BILLY TAYLOR the group as listed is not a unified one, a giant male nurse handling a particu­ GERRY MULLIGAN primarily because it is not given the larly angry w'ound. pportunity to be one here. Pepper ap­ Flanagan’s solo on thi« track is a DON ELLIOTT pears on five tracks, as does Roberts, thing of rare beauty. He has an unusu­ ERNIE ROYAL while Norvo appears on seven. It might ally gentle tone on the piano. Watkins have been wiser to assemble the six bass through this track and the en­ JIMMY CLEVELAND musicians, allow them to select six tire LP is a continuingly deft, ele­ and OTHER STARS tunes to prepare, and thus enable them mental, and propelling force. to have an integrated group sound. Lest you should think I am over­ If you think you've heard Since they are more than just capable looking Roach, I would like to say that jazzmen, the results could have been this record contains, for me. some of THE JAZZ VERSION more rewarding. (D. G.) the best drum breaks and solos I have then listen to this. ever heard. Roach continues to be head and shoul­ ders above every other drummer in his Bewitched, Bothered, You're Smiling; Cool Bunny; Dianne'» Dilemma; musical conception of a drum solo, in Stompin' at the Savoy; IPhat 1» Thi» Thing his exploration of the potentialities of Called Love?; Blue» Out. the instrument, and his unfailing good Personnel: Pepper, alto; Russ Freeman, piano; Ben Tusker, bass; Chuck Florea, drums. taste in the use of the sounds am com- binations of sounds his explorations Ritln, produce. A loose, free blowing session which His solo on Blue Seven is, to me, the provides most of its kicks from Pep­ delineation in very definite form of the per’s obvious eagerness to say some­ direction the drum solo must go. Max thing. There is little hero in the way allows full value to the tones he car. ployed hy Mr of form (when it is utilized, as on draw from his battery; he thinks of Dilemma, it just gets in the way). figurations always in musical terms Billy Taylor He best gets his legs under him on and, in short, is the musical thinker on Trio Blues In and Out, which actually is the drums that no other drummer has nearly 10 straight minutes of Art cry­ appeared to be, despite their excite­ ing out his story, accompanied only by ment, their drive, and their overwhelm­ Tucker, split into two sections. ing swing. He is at once moving and sobbing In no spot on this record does Roach and laughing and protesting, as if play­ appear to have made one sound with- MY FAIR LADY LOVES JAZZ ing all alone in a dark, empty hall. ABC-177 Despite the flaws and slips that are almost inevitable in an entirely impro­ Read and utr vised speech of this length, it is a every issue of For Free Jars < »uloguc write ir memorable performance. DOWN BEAT CATALOGUES AOC FARAMOUNT Pepper ha« seemingly found his voice. O^tS.ISOirwey.N.Y. 3S.MY He could well be the most important ¡omethir g out a logical reason for its being there. which ti He understands the use of economy, too. look for the And this is a virtue of which he is ble, witn almost the only possessor. aining so I find this entire album excellent on ; coasters all counts and for all persons concerned n soloing (the recorded sound is a gas, by the id dutie , way). But I especially endorse it be­ ipon firm cause of the object lesson in how to to move play the drums. (R.J.G.) the salty Johnny Smith KAPP intro 606 "there s a difference THE NEW JOHNNY >M!TH QUARTET—Ruo.l . issi 12* LP 2216: ft Never Entered My Mind; Samba; modern art Black 1» the Color of My True Love*» Hair; ABT PIPPI« OUA«T|T Pawn Ticket; 'S Wonderful; You'd Be So Nice PORTRAITS IN » 12' LP to Como Homo To; Blue Light»; Montage; Bag» WA«« Lo.a Groove; 'Round About Midnight, THE JAZZ GALLERY Peraonneh Smith, guitar) Johnny Rar, vlbaa» f Flanagan, Johnny Lee, drums) George Roumanis, base. itkins, bass. Rating. MODXRN JAZZ OA1LXXT This is a pleasant album, especially ie charge when Smith sticks to ballads and race and blues)sh things where his remarkable few York lyric qualities are shown to best effect. ilbum in As a wailer, he leaves considerable to r, gentle- be desired, and the numbers which es­ leauty in say an excursion into the thicker jazz mor. And forms suffer from this. > remising The rest of the group is musically zed them adequate but not outstanding. Although there is a good bass solo on ’S Wonder­ , for in- ful, neither Rae nor Roumanis lights Elollins in any spark in these ears, however aents and briefly. tter tune The best sides are Black la the Color, rk. From ’S Wonderful, and Bags Groove. On all reduction, OTHER GREAT INTRO LP’s of them, Smith comes through as a MODERN JAZZ GALLERY- A collection of ’ Sonny’s lyric soloist. The rest is bland back the styles, sounds and musical thoughts of INTRO «02 • Swinging Lester Young ground music. (R.J.G.) j duet be- INTRO 003 • The Greatest Lester Young 50 jazz artists on the West Coast. Original reugh the INTRO 000 * Collections. Nono; Pepper compositions and arrangements of greats ; Thomas Talbert fade out INTRO OOf • Calypso Carnival such as Marty Paich, Bob Brookmeyer, Shorty q irst rank, Md BIX. DUKE. FATS—AtUaUa 12' LP 12S0: Rogers, Russell Garcia, Warne Marsh, Med w ballad, JAZZ-WEST 10 • The Return of Art Pepper In a Mi»t; Block «nd Blue; Prelude to a Ki»»; Flory and others.... This album has been Bond Street; Groen Night end Orange Bright; awarded the DOWN BEAT seal ef approval. la was a INTRO RECORDS Clothe» Lina Ballot; Candlelight»; Keepin' Out of hear. A S3SZ W Pico Blvd Lot Aogelot Utachief Now; In the Derk; Do Nothin* Till You Hear from Mo; Koko, 2-12" new hi-fi records-KXL 5001 $7.99 ither like Personnels Joo Wilder (all except Track 3) L particu- and Nick Travis (Tracks 2, I, 6, 8) trumpet i laddie Bert (Traoka 2, 3, 4, 5, 6, 8, IO), and •ack is a Jimmy Cleveland (Tracks 2, 4, 6, 8)» trombones) Aaron Sacha (Tracks 2, 3, 4, 5, 6, 7, 9, IO), in unusu- tenor sax, clarinet) George Wallington (Tracks Watkins 2, t, 6, 8) and Claude Williamson (Track 10), I the en- piano) Jim Buffington (Tradka 1, 3, 3, 7, 9, IO), French horn) Harold Goltaer (Tracks 1, 7, 9), deft, ele- baopuoni Danny Bank (Tracks 1, 3, 3, 7, 9, iOk, baas and baritone clarinet») Joo Soldo am over- (Tracks 1, 3, S, 7, 9, IO) Ruta and allo saai Harry Galbraith, guitar) Oscar Pettiford, bass) > say that O«ie Johnson^ drums. some of os I have Rat lag: WWW This is a stunning piece of work by ind shoul- all concerned. Talbert’s writing is fresh ter in his and moody, and the performances, par­ i solo, in ticularly the solo work, are firstrate. alities of There is a smooth blend of the horns, ling good spiced by some bright brass figures, in and com- the arranged passages. As for the THE PARTY’S OVER-Ruth Price and the olorations solos, it’s difficult to describe them Norman Paris Quintet with Eddie Costa on without using hand motions or includ­ Vibes—Memories come to life os RUTH sings o me, the ing a copy of the record in the maga­ and swings for your after party mood. In­ rm of the zine. cluded are, By Myself, Street of Dreams, go. Max Wilder emerges as a trumpet man of (I’m Afraid) The Masquerade Is Over, Bye ■s he can stature and delicacy. His taste and flex­ and Bye, The Party’s Over and Others. thinks of ibility are particularly evident on the KL—1054 $3.91 al terms Beiderbecke pieces, Miat, Candlelight, hinker on and Dark. Galbraith also is heard soul- Available at poor record etore, or write nmer has fully on the Bix tracks. Cleveland and ir excite- Bert split the trombone solo spots, with * KAPP RECORDS INC., Dept. D S 'erwhelm- Jimmy percussively exciting and Bert * lie West S7 st., New York City blowing warmly and with restraint. . Gentlemen: Please send me post-paid my copy ot >es Roach The Talbert original, Green. Night, : □ MODERN JUZ CALLERY t VM ind with- is a moody, impressionistic work with : □ THE PARTY'S OVER-RUTH PRICE O S3.M actually none of the flavor of the three men to whom homage is paid by this • Check enclosed for S______album, but rather a logical extension of • Name______the mood created by the compositions. This album is no tribute in style to ; Address------Bix, Fats, and Duke. Rather, it is a • City______State______collection of creations based on their • Sand for KAPP long plotting catalog. own Beat works. The closest to a literal reading Jazz label’s catalog, including Chet NOTES BETWEEN THE LINERS is Duke’s Koko, which smacks of period Baker (Summertime), Gerry Mulligan Exciting month here at Savoy! A hatch ot Ellington in the rich opening ensemble (Line for Lyons), Chico Hamilton new release« went oat featuring combos and prodded by Pettiford’s throbbing bass. (Topsy) and Hamp Hawes (I Hear “little” bands, and among them the fantaa- Music). A good sampling. Ue AMERICAN JAZZMEN PLAY ANDRE One final word should be said about HODEIR (mg 12104). Thia ia really a new Wallington, whose presence is a vital Listen to the Blues with Jimmy Rush aound! * men and Annie Ross’ vocal obligat- thing, and whose solos and fills are a ing (J 1244)—The Vanguard sessions to on a diffgrant tangent in jazz! Hear Don Byrd. Bddir Coata. Tdreee Suiieman, Bobby delight to hear. from which came See See Rider; Every ■■mm—^^^m Jaspar, otheri. Packaging is handsome, with the Day; Evenin’; Good Morning Blues; I Still on the Best- Roll ’Em, Pete, and four others. Won I Seller liat is cover perhaps the most attractive jazz I OPUS DE JAZZ cover presented in many months. Tal­ derful Rushing, with fine backing by I (mg 12036) with bert’s notes are literate and illuminat­ Pete Johnson, Emmett Berry, Lawrence I Frank Wess and ing, a fine argument for having musi­ Brown, Rudy Powell, Buddy Tate, I Milt Jackson. I S a toy “Trio” cians or leaders write the words about Freddie Green, Walter Page, and Jo I star Hank Jones their music. Jones. I deserves to in- I herit the Tatum This is a great record, conceived The Great Swing Bands (J 1245)— I crown! One lis- and executed with taste and artistry. Culled from RCA Victor, tracks include I ten to him solo (D. C.) Benny Goodman’s Estrellita and Flat- I unaccompanied Foot Floogie, Earl Hines’ Topsy Turvy, ______Ion HAVE YOU 'MET HANK Artie Shaw’s Out of Nowhere, Basie’s JONES (mg 12084) and you'll agree! For the Cheek to Cheek and St. Louis Baby, tooting set, try A. K. Salim’s funky FLUTE Jazztone Series Bunny Berigan’s Peg O’ My Heart, SUITE (mg 12102) featuring Frank Wess and Herbie Mann in “down home" sounds. and Jimmy Lunceford’s Jazznocracy, When Crowell-Collier took over the among others. Sound is superior. And. for the absolute END. your library Jazztone mail-order record club, with ■met include one or all of our CHARLIE Lionel Hampton’s All-Star Groups (J PARKER MEMORIAL SERIES (MG 12000, veteran jazz critic-writer George T. Simon at the helm, a blanket release of 1246)—Also from Victor, these include 12001. 12009. 12014, and 12079). It’s Me de­ Dough-Ra-Me, House of Morgan, and finitive recorded history of modern jazz in 10 albums was issued. The LPs ranged one man 1 Incidentally, our NEW catalog from early jazz heritages through the Jivin’ With. Jarvis, with Hamp and the just came from the printers. For a free swing era to the modem idiom. Nat Cole trio, plus Open House, Shoe copy, write Dept. A. More next month Shiner’s Drag, Dinah, and others dating Since the initial release, a regular from 1938 and 1939 and including stream of recordings has been forth­ Benny Carter, Ed Hall, Coleman Haw­ coming to subscribers. All of the pack­ kins, Chu Berry, Ben Webster, Harry ages to date, reissues and recouplings James, Ziggy Elman, Marshall Royal, MIÄAI» n of previously issued material, will be and Charlie Christian. Good Hamp. reviewed in capsule form here. Fats Waller Plays and Sings (J The Jazztone society recently em­ 1247)—Another set from Victor, rang­ barked on a program of recording its ing from 1936 to 1942, with Waller own sessions as well as continuing to clowning and playing smartly on such issue a comprehensive growing library as I’ll Never Smile Again; Curse of an of jazz. New releases will be reviewed Aching Heart; Pantin’ at the Panther under jazz records, and the reissue col­ Room; Your Socks Don’t Match; Star Records rhippod anywhere lections will be noted appropriately Dust; At Twilight, and Dry Bones. MODERN MUSIC under a reissue column. Valuable Waller, and the fine sound is 627 N. KINGSHIGHWAY One remarkable factor should be a bonus. ST. LOUIS 8, MO„ U.S.A. mentioned about all the Jazztone re­ The Songs of Rodgers and Hart (J leases to date: their sound. From the 1248) — Eight tracks by Lee Wiley, 12" LPs $3.98 each earliest track to the ones made in the □ Jackie and Roy—Bits and Pieces...... ABC featuring Ruby Braff; others by Teddi □ June Christy-Fair and Warmer...... CAP last 12 months, the sound has proved King, Jackie Cain and Roy Kral, and □ Don Byrd and Gigi Gryce-Jazz Lab...... COL of highest caliber. Millie Vernon. From Storyville Records, □ Art Blakey's Messengerv-Drum Suite...... COL I Kai Winding-Trombone Sound...... COL Simon and chief engineer Alan Sil­ the superb Wiley Mountain Greenery; □ Zoot Sims and Joe Newman...... RAMA ver are to be congratulated on their It Never Entered My Mind; Glad to 12" LPs $4.98 each achievement, and the a&r men, par­ Be Unhappy, and Give It Back to the □ Jimmy Giuffre Three...... ATL □ Kenny Dorham w. J. J. & Blakey...... B.N. ticularly on the major labels, should Indians, as well as Teddi’s fine Ship □ Lee Morgan Sextet w Horace Silver...... B.N. note what has been accomplished. The Without a Sail are included. □ Art Pepper Meets The Rhythm Section. .CONT. packaging is bright and notes informa­ The Early Jazz Greats (J 1249)— □ Art Pepper Quartet-Modem Art...... INTRO. □ Art Pepper & Red Norvo-Collections... .INTRO. tive. Drawing from Victor again, this his­ □ Jim Hall-Jazz Guitar...... P.J. The releases: torically valuable set starts with the □ Thad Jones-Mad Thad...... PER. The Saxes of Stan Getz and Charlie “first” jazz recording, the Original n Sonny Rollins-Sax Colossus...... PRES. □ Stan Getz '57...... VER. Parker (J 1240)—Getz with Horace Dixieland Jazz Band’s Livery Stable □ Genius of Bud Powell...... VER. Silver, Jimmy Raney, and others in Blues and includes Smoke House Blues n Howard Roberts Plays Guitar...... VER. tunes including Yvette, Wildwood, and (Jelly Roll Morton), New Orleans U Charlie Parker-Now’s The Time...... VER. □ Bird & Diz...... VER. Split Kick. Parker with Miles Davis, Shout (King Oliver), Apologies (Mezz n Charlie Parker Play« Cole Porter...... VER. J. J. Johnson, Max Roach, and others in Mezzrow), with others by Sidney □ Charlie Parker-Fiesta ...... VER. Dewey Square; Charlie’s Wig; Dexter­ Bechet, Johnny Dodds, and the Jean [j Charlie Parker-Jazz Perennial...... VER. LJ Charlie Parker-Swedish Schnapps...... VER. ity; Drifting on a Reed; Bird of Para­ Goldkette orchestra with Bix Beider­ Send for FREY Cotalogaes dise, and Don’t Blame Me. Too import­ becke. A historical document and, in $1.00 Deposit on C.O.D. Orders ant to miss. sound, unbelievably good for the age Foreign orders odd $1.00 postage of the sides. U. $. Servteomea exempt from Foreign Dixieland Now and Then (J 1241)— Postage Charge. Jimmy McPartland’s group, including Dedicated Jazz (J 1250)—Rex Stew­ Vic Dickenson, Bud Freeman, and Mar­ art and a group play Duke Ellington ian McPartland in such as McBlues, compositions, with Peanuts Hucko and Decidedly Blues, and My Gal Sal. Paul a group doing likewise on tunes con­ Down Beat's Barbarin and his New Orleans Stomp- nected with Benny Goodman. Some N.A.M.M. Daily ers playing Saints, Gettysburg Maren, fireworks. Careless Love, Tiger Rag, and Mon The Early Jazz Greats No. i (J Distributed daily at the Chere Amie. 1252)—Jelly Roll Morton’s Red Hot The Jo Jones Special (J 1242)— Peppers in The Chant, Sidewalk Blues, National Association From Vanguard, and featuring Count Beale Street Blues, and Grandpa’s Basie on two takes of Shoe Shine Boy, Spells, with two trio sides; backed by of Music Merchants Convention with Emmett Berry, Benny Green, Johnny Dodds’ Washboard band and July 15, 16, 17, 18 Lucky Thompson, Freddie Green, and trio in Bucktown Stomp, Pencil Papa, Walter Page. Nat Pierce is on piano Bull Fiddle Blues, Too Tight, and for information & rates write on other tracks, including Lover Man, others. Historically valuable, in fine Down Beet Maqaziae Caravan, and Lincoln Heights. sound. 2001 S. Calumet Ave. Chicago 16, Illinois A West Coast Jazz Anthology (J Mulligan and Baker! (J 1253)—Mul­ 1243)—A cross section of the Pacific ligan’s quartet with Lee Konitz on one

Down Beat side; Baker’s quintet, featuring Phil KJt)6 Readers Poll ng Chet Urso on the other. From Pacific Jazz, Mulligan the Mulligan sides include Broadway; Hamilton I Can’t Believe That You’re in Love (I Hear with Me; Sextet, and Lover Man; the Baker sides include, Extra Mild, Night beat get this ny Rush on Bop Mountain, and Down. sessions Jazz A La Mood (J 1254) —A mixed r; Every entry, including Jack Teagarden’s A collector-designed ; Blues ' Hundred Years From Today, St. James rs. Won- Infirmary, and Stars Fell on Alabama; Leslie Creations :king by Coleman Hawkins’ quintet with I’ll jawTcnce String Along with, You and I’ll Never y Tate, Be the Same, Lucky Thompson quintet's and Jo Where or When?, and tracks by Ernie Royal, and Willie (The Lion) Smith. 1245) — Good all amund, with superior Tea­ s include record cabinet garden. nd Flat- Compvsers-Pianistu (J 1255)—Mary with subscription to DOWN BEAT y Turvy, Lou Williams trio in her Roll ’Em; , Basi«-' Amy; I Love Him; Taurus, and others Music lovers, record collectors, decorator-conscious is Baby, and Ralph Burns’ quartet playing his home makers—here’s vour opportunity to own thu I Heart, Bijou; Spring Sequence; Autobahn -.nocracy, Blues; Gina, and others. Comprehensive beautiful cabinet designed to hold over 200 long-play ar. notes by Jolin Mehegan, plus excellent records Divided into ten compartments so those jazz, roups (J studies in style and interpretation by folk song, symphony records, can be put into their s include the pianists-composers. proper sections . . . even your precious old 78 rpm tan, and Doubles in Jazz (J 1256) — From । and the Vanguard, and featuring a side by albums can be accommodated. Sturdily built, 25* x •se, Shoe Don Elliott with Ellis Larkins, Aaron 22" x 10" of black wrought-iron with vinyl tipped feet. rs dating Bell, Bobby Donaldson; and a side by ncluding Sam Most, with Marty Flax, Barry an Haw- Galbraith, Bill Triglia, Bell, and Don­ r, Harry aldson. Most’s Open House is a high­ 11 Royal, light here. amp. Comparative Blues (J 1258)—Just 'ings (J eight tracks, with Buck Clayton’s West ar, rang­ End Blues, Sidney Bechet’s Apex i Waller Blues, Jimmy Yancey’s Yancey’s Mix­ on such ture, Jack Teagarden’s Bad Actin' rse of an Panther Woman, and the invaluable Gillespie- Parker Congo Blues. Culled from ch. Star Vogue, Pax, Period, Comet, and earlier i Bones. Jazztone original sessions. sound is Lena and Ivie (J 1262)—Black and Hort (J White singles cut by Lena Horne in e Wiley, the mid-40s and by the late Ivie Ander­ by Teddi son about 1947. Lena sings Just Squeeze Irai, and Me, Hesitatin' Blues, and Sometimes I Records, Feel Like a Motherless Child; Ivie rctnery; sings Butter and Egg Man; Empty Glad to Bed Blues; Twice Too Many; Sunny tk to the, Side of the Street; I Got It Bad, and ine Ship others. Phil Moore and a band back the fine singing by each. This is among I wm L249)— Ivie’s last sessions. Valuable. this his- Early Modern (J 1263)—Kai Wind­ $16.95 value—only $12.00 for a limited time! with the ing with sextet and quintet, and Sonny Original Stitt with octet are featuied here. Ori­ One year DOWN BEAT $7.00 — Record Cabinet y Stable ginally Roost singles, the Windings have $9.95. Just imagine!! 26 fascinating, news packed ise Blues Mulligan, George Wallington, Roach, Orleans and others on such as Bop City; Wall­ issues of DOWN BEAT, plus this wonderful stor­ "8 (Mezz ington’s Godchild; Sleepy Bop, and age cabinet for your records, all for only $12.00. Sidney Harem Buffet. Stitts group includes Send your subscription with check or money order he Jean Winding, Elliott. Silver, Charlie Min­ today. Cabinet sent fully assembled, shipping Beider- I gus, and others, playing Hooke’s Tours; and, in Pink Satin; Loose Walk, and Sancho charges collected on delivery. the age Panza. Fills in some holes in history around 1950. ex Stew- —dom DOWN BEAT MAGAZINE Ellington 2001 S. Calum«* Ava., Chicago H, III. jeko and mes con­ Ju— Chritty Please tend mo Down Beat's special offer of a I year ti. Some subscription to Down Beat, plus a record cabinet for New Gold the total sum of $12. I will pay the shipping charges o. 2 (J New York — The P. Lorillard when delivered. lied Hot Co. is planning to market a new □ Enclosed is my check or money order for $12. Ik Blues, brand of cigaret called Newport. ■randpa’s The cigarets — now being test- Nams. acked by distributed on the west coast—are and and king-size and filter-tipped. They’re cil Papa, also mentholated. Address jht, and You make up your own slogan in fine about how Newport is real cool City. Zone____ State and like that. 6277 n-Mul- ;z on one June 27. 1957 >wn Brel SHELLY MANNE is what might be in custom-built cabinets newly in­ termed a “practical listener” so far as stalled. Concealed behind sliding panels high fidelity music reproduction is con­ along one end of the living room to the cerned. right of the fireplace are the com­ “When I go into a hi-fi store,” he ex­ ponents. plained, “and they play music for me on those superduper rigs, I really don’t “RIGHT NOW,” he said, sliding back enjoy it. I don’t hear the music that one panel, “I’m using a Garrard RC80 way; somehow it sounds distorted to changer with a General Electric cart­ me, and the pleasure is gone out of ridge. I’ll be getting a new changer listening. Man, I don’t hear 50,000 soon, though, perhaps the RC88, be- cycles all the time, and I don’t feel I cause this turntable giving me need that kind of equipment.” trouble. There’s a lot of wow and Ideally suited for fireside listening. rumble coming over, I ve noticed. I Shelly’s home music system is housed guess this changer’s had it.” Shelly Manne

At this point, Manne considers that The most discriminating drummers INSIST on he doesn’t particularly feel a need for a simple 'turntable and tone arm. He would rather stick with a changer. “Later on I’ll probably get a manu­ ally operated turntable,” he said, “don’t know what kind yet.” He tapped the THE ONLY CYMBALS MADE ANYWHERE top of the cabinet. “This would be a IN THE WORLD BY ZILDJIANS good place for it, don’t you think? Just the right height.” To the right of the changer is a Bogen 50 FM tuner. He doesn’t have an AM tuner. “For me,” he said, “FM reception the greatest. Y’know, they’ve got some crazy programs.” He MH LEWIS' twisted the dial, got a fix on the station Avedis ZUdfian by means of a special device which Cymbal Sat-Up locks in reception, and the voice of 16" Hi-HaU (Medium) June Christy eased into the room, 20 Sizzle (Medium) 20" Ride (Medium Heavy) INDICATING HIS Newcomb 30-watt 22" Crash (Medium Heavy) amplifier with a built-in pre amp, he confessed. “This amplifiei' is reallj quite old and doesn’t help turntable rumble one bit. Actually, it was recon ditioned when I bought it. That was years ago. That’s gonna have to be re­ placed, too. “Yon can see,” he said grinning, “that I’m not completely happy with my components. To say the least. . . There is much more improved equipment on the market now to which I’ll eventually change.” However, the drummer has little or SONNY RAYNE'S no complaint with his speaker system, Avedis Zddjian housed at floor level under the television Cymbal Bat-Up set. Speakers consist of an Electro­ 16" Hi-Hats (Medium Thin) voice 12" woofer and supertweeter bol­ 18' Fast (Medium Thin) stered by a University 12-inch coaxial. 12" Splash (Thin) He put a record on the changer, re­ 20" Ride (Medium) 22" Sizzle (Medium) j treated about six feet from the speak­ ers and squatted on the floor directly facing them. “Come over here,” he in­ vited, “and I’ll show you something. “WHEN IN THIS spot—near the floo’- straight in front of the speakers-- you have no trouble hearing the highs, do you? Now move over to the side of Look the room. Can’t hear the highs so good for this now-, can you? See, that’s one problem I’ve got, and I don’t quite know how to trademark cor rect it.” The compact setup of the installation is eminently satisfactory, Shelly says, AVEDIS ZILDJIAN COMPANY both from a practical and aesthetic NORTH QUINCY 71, MASS., USA viewpoint. Painted tan to blend with the room decor, it is a functional and unobtrusive home music center. tynan the blindfold test Chambers' Music By Leonard Feather Paul Laurence Dunbar Chambers Jr. and Down Beat are of an age; in fact, to be exact, Down Beat had been coming out for eight months before Paul was born, and it is safe to say that the young bassist, now in his 23rd year, has progressed as prodigiously in his own field as his fourth-estate contemporary, climaxed with his dual victory last year as new star bassist both in the Down Beat Jazz Critics’ poll and in the “Musicians’ Musicians” poll I con­ ducted for the Yearbook of Jazz. To fit the occasion, I played for Paul a series of records issued during his lifetime and Down Beat’s (one record, No. 7, preceded Paul’s birth by a few months). Each record represented a different trend that has come along during the last 23 years in big band, iders that combo, and solo styles. Paul was given nn information before or during the test about need for a the records played. irm. He anger. a manu- lid, “don’t ipped the nuld be a The Records ment sounds like what Quincy Jones 7. Fletcher Henderson. Down South Camp link? Just would write. I think the baritone sax Meeting (Decca). Recorded 1934. I. King Cole Trio. Honeysuckle Rose player sounded like Serge Chaloff, and That sounded a little bit like Jimmy (Decca). Oscar Moore, guitar; Wesley for a while I thought one of the trum­ Dorsey’s band, and it was a nice com­ iger is a Prince, ba**. Recorded 1940. pet players at first sounded like Art mercial sound. It sounded like a com­ sn’t have It could be Teddy Wilson, but I’m Farmer, but I don’t think it was. The mercial dance swing arrangement—I’ll ¡aid, “FM scared to say so. It’s traditional jazz, trombone player could be Frank Re- give it three stars. Y’know, I think. You have to give it a certain hak, but I’m not sure. uns.” He amount of respect. As far as the bass I like the arrangement. It said some­ 8. John Kirby. From A Flat to C (Decca). ie station player goes ... it might have been thing and had pretty nice commercial Composer, Billy Kyle. Recorded 1938. ce which Slam Stewart walking. The guitar value. I didn’t quite like the alto solo, Well, stumped again! However, I voice of player, I don’t have any idea. I like to although I don’t know who it is. I’ll thought it was a cute little thing and >om. listen to records of this type because give it three stars, for the arrange­ it swung a little bit, so I’ll give it four ordinarily, regardless of how far back ment. stars. I like the theme. Don’t know b 30-watt it goes, you can get certain things out any of the soloists. It sounds like an !-amp, he of it. It definitely swings. I’d give this 4. Woody Herman's Woodchoppers. Igor older recording, but I’m not sure. is really three stars. (Columbia). Sonny Berman, trumpet; Chubby Jackson, bass. Composer, Red turntable 9. Thelonious Monk. Carolina Moon (Blue as recon- 2. Metronome All-Star*. One O Clock Jump Norvo; arranger, Shorty Rogers. Re­ Note). Kenny Dorham, trumpet; Lucky Chat was (Victor). Coleman Hawkins, tenor; Harry corded 1946. Thompson, tenor; Max Roach, drums. Re­ to be re- Jame*, trumpet; Count Batie, piano. Re­ It sounds like an all-star session of corded 1951. corded 1941. some sort. The bass player sounded Well, Leonard, it couldn’t be any­ grinning, For a minute, it sounded a little like somewhat like Chubby Jackson, and body else but Thelonious Monk. I think r with my Charlie Barnet was involved; and Char­ the trumpet player sounded like Roy it was Kenny Dorham on trumpet and . . There lie Shavers. Could it be a Glenn Miller Eldridge. That’s about as far as I can Lucky Thompson on sax. I haven’t pment on recording possibly? It had a very nice go. There wasn’t any arrangement in­ heard this particular record before. ventually beat to it, as most of those records volved—it was a regular jam thing, I They’re playing in 6/8 time, and it’s a always do. It’s seldom that they vary in think. It swung and I can’t say it’s a very difficult thing to do for it to little or the beat. bad record so I’ll give it three stars. come off effectively and swing. I like r system, It holds true to the traditional jazz This sounds as if it could have been the way Monk writes, and I think I’ll television form, too. I’m not too sure who the recorded in the last five or six years, give this record 3% stars. Sounded like Electro- artists and soloists were, but I’ll give because of the sound—an older record Art Blakey on drums. aeter bol- it four stars. At the beginning it doesn’t bring out the rhythm section i coaxial, sounded a little bit like Basie on piano as well. 10. Jimmy Giuffre. The Train and the River —I didn’t recognize the other instru­ (Atlantic). Recorded 1957. nger, re- mentalists. 5. Bob Crosby. Fidgety Feet (Decca). Re­ I’ve never heard this record, but I le speak- corded 1937. think it is probably Jimmy Giuffre be­ • directly 3. Clifford Brown. 'Scene These Bluet (Pre*- I didn’t recognize any of the artists cause I know he has a trio of that he in- tige). Brown, Art Farmer, trumpet*; or the name of the organization. I al­ nature and he plays the reeds. I don’t ething. Arne Domnerut, alto; Lar* Gullin, bar ways like good Dixieland, and I think know whether to call this number ex­ tone; Ake Persson, trombone. Composer it had a very good Dixieland ensemble actly jazz or not. It sounds in the na­ iear the and arranger, Quincy Jones. Recorded reakers— to it. It swung, and I think I’ll give it ture of folk music. It was very well put he highs, 1953. four stars. together with the three pieces and it e side of Well, I think it sounds something like caught a folk-song mood. I’ll give it s so good Woody Herman, but still the arrange- 6. Duke Ellington. Sepia Panorama (Victor). four stars. problem Ben Webster, tenor; Harry Carney, bar­ w how to itone; Jimmy Blanton, bass. Recorded 1940. That was Jimmy Blanton on bass— Zion Of The Times stallation Aqua Semantics an old Duke Ellington side. I don’t New York—A new Israeli night illy says, Chicago—Take it for what it’s know the title. I think it was Ben aesthetic worth, but it’s reliably reported club, Cafe Sahbra, is featuring co­ that a local musician who ventured Webster on tenor and Harry Carney on median Shaike Ophir, singer Sara too near the edge of a dock and baritone. When it comes to Jimmy, I’m Halevy. and the Horaneem, Israeli the room a little prejudiced because he’s my calypso group. obtrusive fell into Lake Michigan went down once, came up and shouted, “Like, favorite. I think he’s wonderful. I’ll Like Marianne Down by the have to give that one about five stars Negev?? —tynan help!” —at least. iwn Beat June 27, 1957 FIRST WITH TOP MUSICIANS idvocate By Mason Sargent

MERRY AND MACABRE: Cockney Musical Hall Songs by Colyn Davis (Tradition Records TLP 1017; Box 72, Village Station, New York 14) in- eludes classic parody, The Poor “TOM foi “TOM in Young Girl; a study VU' PERFORMANCI WULABIT» in non sequiters, The Wind Was Weirdly Howling: and for necrophiles, the smilingly sinis­ ter They’re Moving Father’s Grave, as well as The Hearse Song. Also folk and sea ballads, and - om c exaggerated comments on the times ... In u gentler vein is Elizabethan Songs (Tradition TLP 1012), sung by Norman Notley and David Brynley, accompanied by Paul Wolfe on harpsichord. Largely songs of love, in doubt, unrequited, or fulfilled; with a bonus in The Angler’s Song, Izaak Walton’s words set to mu­ sic by Henry Lawes. CONTEMPORARY AND CHOICE: CICI CRYCE JEROME RICHARDSON Flamenco! by Vincente Escudero (Co lumbia CL 982) with Carmita Garcia, castanets and dance partner to Escu­ dero; Mario Escudero, guitar, and Pablo Miguel, piano Sharp and biting as aged cheddar, with a curious strain of melancholy throughout. Notes are by Escudero on Escudero and Flamen co, with eight helpful translations. A fine cover portrait of the time-embroid­ ered face of the artist . . . Coupled on Columbia ML 5158 are Credenum by William Schuman, a sometimes brittle, sometimes bombastic, often moving work, and Leon Kirchner’s Piano Con­ certo. Schuman'-- composition is given a handsome reading by the Philadel­ phia Orchestra, conducted by Eugene Ormandy. Kirchner is the soloist in his work, playing with the Philharmonia- Symphony Orchestra of New York 1*SD BROADWAY conducted by Dimitri Mitropoulos. Val­ uable listening. LIGHT AND CHEERY: In the Westminster Spoken Arts Series there are two fairly recent entries which feature two prominent women, Dorothy Parker (726) and Siobhan McKenna (707). Miss Parker reads her story, Horsic, and two dozen of her brittle, but still tender - in - their - way poems. Miss McKenna gives one LP side to the poems of William Butler Yeats, and the other to Irish ballads, folk songs, and lyrics. Her voice, touched with native brogue, is as warm and gentle as a smile, and often as impish. THE STROLLER SET: Mercury has coupled John Alden Carpenter1 - Adventures Perambulator and NEW ON THE MARKET DeMIRE’s MARCHING AID! Bur rill Phillips' Selections from Protects «nd develops better embouchures for oil brass Musicians. This pat­ McGuffey’s Readers, by Howard Han­ ented adiustable -bin rest is simple fo assemble and consists of 3 «esentiri son and the Eastman-Rochester Sym­ parts which are fully guaranteed Models are available for coriets, trumpets, phony orchestra, on one record (MG and tenor 'rombones Its smartness in color, black nylon adjusbble acm, 50136). The Carpenter piece is as light nickel plated wing nut and thumb screw, and black rust proof ceil spring as cotton candy, but also as r.weet. De grip, will add to the appearance of any brass instrument. spite its often obvious program, it is a happy and tender set of matched Price $2.51 cameos. The Phillips work includes (This ad is an invitation tn retailer and music ans I tape portraits of The One Horse Shay, Nato Massfactsring Company John Alden and Priscilla, and The Mid loi 1143 night Ridt of Paul Revere. Light and Berkley, Mkhifaa pleasant and pictorial. cate heard in person i Sargent

: Cockney yn Davis Herb Pomeroy Orchestra Byard’s main importance is as an ar­ Box 72, ranger. 14) in- Personnel: Herb Pomeroy, Lennie Haroutunian, who strikes an effective Johnson, Nick Capezuto, Everett Long- compromise between the cuol and hard- streth, Joe Gordon, trumpets; Joe Cia- hop approach, is a soloist to watch. vardone, Bill Legan, Gene DiStasio, Haskins, who followed Serge Chaloff in trombones; Dave Chapman, Boots Muf this chair (only two changes have been sulli, tltos; Varty Haroutunian, Jackie made in the personnel since the band’s Byard, tenors; Deane Haskins, bari­ inception), wail? convincingly in a style tone; Ray Santisi, piano; John Neves, dearly and cleanly cut from blue Serge ba.-s, and Jimmy Zitano, drums. cloth. Reviewed: Three sets at Birdland The rhythm section, though lacking during a two-week engagement at Bird­ any outstanding individual talent, is Buddy Rich land; two broadcasts on Bandstand functionally competent. Santisi’s long, USA from Birdland. single-note Lines sometimes suggest that last year. Now, however, with bit in he’s playing to himself and might be teeth, the drummer is finally in busi­ MuMicai Evaluation: They’ve done it more effective in a small combo. Neves, ness as a single. a gentler again at Goodstein’s Gulch. The club a good section man, was heard in an Tightly written and brightly paced, Tradition that acted as midwife to the Maynard arrangement built around him on Dar­ the set runs through about 35 minutes n Notley Ferguson and Oscar Pettiford orches­ ling, Je Vous Aime Beaueoup — or, of special song materia), selections from anied by tras in recent months made it a triple rather, .should have been heard, for his new Verve album and a breathtak­ Largely play with the installation, for its first without a microphone it was difficult ing drum finale. Buddy Bregman wrote luited, or full week’s work ever, of the Pomeroy for him to come through from the rear the arrangements, and staging is by Angler’« powerhouse from Boston. For a group reaches of the Birdland stand. Nick Castle. at to mu- that’s been limited, during most of its Man for man, the band is capable Buddy sings the opening I’m Rich in 18-month life, to two nights a week at of considerable breadth of expression what can be described only as his “per­ with suitable attention to the funky CHOICE: the Stable in Boston, it made out im­ sonality voice.’’ It’s a clever, catchy pressively. «ssentiaLs, as can be observed in its number and has the comfortable nng lero (Co­ fitting theme, Leo Parker’s El Sino. i Garcia, Using the conventional brass-reeds- of familiarity without being banal. The to Escu rhythm instrumentation and main- Audience Reaction: Birdland custom­ album selection follows with such tar, and stieam-modern writing, Pomeroy hat ers, generally receptive to new talent, stand-bys as Too Marvelous for Word­ assembled a diversified book to which seemed consistently attentive. The most Day by Day, .ind It’s All Right with nd biting impressive moments, it seemed, were us strain the contributors include Byard, Long- Me. otes are streth, Mussulli, Bob Freedman, Benny the trumpet challenges, no matter After a comic calypso turn with Flainen- Golson, Santisi and Pomeroy. which two horn men happened to be conga drum, Buddy cracks, “Here’s u itions. A Two parts of a promising suite by involved. dance from an old George Murphy embroid- Freedman were among the more am­ Attitude nf Performers: Pomeroy is movie.” What follows is an excellent upled on bitious items featured. Among Byard’s a tall and impressive - looking front tap routine that swings from Beat 1. enum by scores are a jumping original, One man. The general spirit seems to be To a background of Basin Street s brittle, Note, a Dukish treatment of Satin Doll, that of a group of men eager to stay Blues Buddy, rather breathless from moving and something called Two - Five - One, together, familiar with the book and at hoofing, introduces The Story of Jazz, a mo Con­ which displays his penchant for cute, home with the audience. specialty number written for the act is given tricky endings. by Marion Keith, Alan Bregman, and Philadel- Pomeroy himself, on many numbers, Commercial Potential: As ie the cast* Lou Spence, the team which also Eugene simply conducts; on others he is fea­ with every band nowaday» that has penned I’m Rich. While this narration st in his tured as a trumpet soloist and occa­ more than six men and less than with music is not original in concept, umonia- sionally steps back into the section £100,000 capital, the future is unpre­ Rich puts it over with consummate w York Though liis overslow vibrate* bothered dictable. showmanship that reached even ’he los. Val- me occasionally on the ballad tempos, Many of the members are medical quadrilateral audience present on the he exhibits a forceful and modern style and music students, involved in Boston night of review. activities that would make it difficult In the on the up numbers, notably in the duels The muted trumpet work of Harry with Lennie on Boots’ Big Man and for them to leave town for more than Edison behind the tap routine and his- es there a week at a time. Nevertheless, the band s which with Gordon on Two-Five-One. tory-of-jazz bit is such a gas that one Johnson took off on his own, a little would be well fitted to the requirements wonders if Buddy can afford to do Dorothy of a concert tour package and could IcKenna too high for comfort, on Our Delight, without him when he works out-of­ arranged by Longstreth and played a certainly gain a following if and when town locations. Pianist Arnold Rom r story, its promised LP debut takes place. ' brittle, little too fast to swing, but evidenced & also is superb, tying together the act * pnemp fine beat and some interesting use of Summary: Pomeroy’s band provides with skill and experience. side to half-valve effects on other numbers. another reminder that the shortage of After a rocking blues windup to Tho ■ Yeats, There is no shortage of solo opportu­ big, swinging orchestras is in no mea­ Story of Jazz, Rich shifts to tympanies, is, folk- nities for Gordon; in Santisi’s Less sure due to any lack of able and threatening, “There’ll be no sleeping touched Talk and Byard’s Zyd-Zib-Byazeke, the spirited musicians and arrangers. One while this set is on.” Then, in the mid­ rm and latter a duel with Lennie, he played can only hope earnestly that it will not dle of a ppp passage, he suddenly re­ impish. with all the fire and force that im­ return to local two-night-a-week ob- flects, “Howcum I can’t win a Down Mercury pressed listeners during his tenure with ■curity, for coupled with its will to Beat poll?” and moves over to his ■penter’s the Gillespie band a year ago. succeed is the no less important fact drums set up center stage for the w ind- ’or and The brass team, generally the most that it deserves to. up number tagged Drumo^racy ■ which te from impressive of the three sections, boasts —leonard feather boils down to Battle Hymn of the Re­ rd Han- a good soloist in DiStasio, in whom public a la Rich. jr Sym- elements of both Harris and Winding Buddy Rich Intelligently presented as it is, the -d (MG are discernible. Johnson and Capezuto Reviewed: Larry Potter’s Supper fireworks finale is smart, if obvious, as light share the trumpet lead. Ciavardone Club, San Fernando Valley in Califor­ showmanship. After all, this is Rich’s eet. De­ leads the trombones capably'. nia, during first week of act’s break-in forte and, despite his desire to build a rn, it is The reeds, well led by Chapman’s period. reputation as an all-round entertainer, matched alto, have the familiar face and sound Musical Evaluation: “Long-awaited,” it is as a great drummer that the pub­ includes of Mussulli, whose Rabbit-like tone and is a cliche, but it applies pertinently to lic expects him to strut his stuff. it Shay, Bird-like style are in evidence on Pom­ Rich’> new night dub act. In the proc­ Audience Reaction: Notwithstanding 'he Mid- eroy’s wistfully titled Fast Blues, No­ ess < f getting the routine on the road, the fact that Rich .«hared the bill with ?ht and body Will Room with Me. Both tenor Buddy’s gone through at least two book­ a South American girl vocal trio and a players are featured soloists, though ing agencies and several writers in the (Continued on Page 38) rn Brat June 27, 1957 35 23 Years (Continued from Page 14) piece unit at New York’s Onyx chib . . . Norman Granz launched a sei es of jazz conceits in Los Angeles . . From Minneapolis came the report tl it Paul (Doc) Evans was a “reasonably exact facsimile” of Bix Jane: te Davis was staff vocalist with WBLM MARIMBAS in Chicago . . . Dizzy Gillespie was -et to join the new Billy Eckstine band as AND trumpeter-arranger . . . Musicians com­ prised 95 percent of the business at Charlie’s Tavern in New York ... The VIBES Art Tatum trio was drawing $1,000 a COI week salary at the Three Deuces on New York’s 52nd St. Anita O’Day was singing with the Stan Kenton band . . . Norman Granz scheduled a second err jazz concert at the Philharmonic audi­ torium in Los Angeles when his first CHARUS • CHUCK" CALZARETTA concert, featuring Illinois Jacquet, Nat NBC ARTIST Cole, and Les Paul, proved successful Featured Soloist with th. . . . The Billy Eckstine band included Art Van Damme Quint.* Dizzy Gillespie, Charlie Parker, Gene Amnions, Lucky Thompson, Tommy Potter, and Art Blakey, with Sarah am Vaughan on r vocals. The band’s book mUSSER MARIMBAS, INC included Salt Peanuts and Night in CHICAGO 6, ILL. Tunisia Nat Cole and trio em- barked on a national tour Bing ST ate 2-0257 Crosby denied he was on a Dewey-for- President bandwagon Guitarist Barney Kessel was hailed as the great­ me est guitar discovery since Charlie Christian, as soloist with the Artie ■>vc SHAWL COLLAR JACKETS Shaw band. 1945 ORIGINAL Pianist Erroll Garner joined the DIRECT FROM THE MANUFACTURER jazzmen on 52nd St. The war department reported that Glenn Miller was on a plane which disappeared on a flight from England to Paris . . . $18.75 Stan Getz was with the Stan Kenton jjwy-j 7* *4 Fully lined. Sizes 34 to 50 up, long* end regular*, etc band Calypso fans burned when mj Fine. Full-bodied all-year-round Rayon and Dacron*. the radio networks banned Rum and Nak Jit'» WiT auj Smart cool, good-looking. In stock. Coca-Cola Bunk Johnson partici- ■ W » 1 Guaranteed against more than 1% shrinkage pated in New York jam sessions . • . rninDC. Bed Plaid*, Blaek Watch Green, Critics lauded Woody Herman’s first । W VVLVIW. Maroon Tartan», etc. Columbia recordings Down Beat ML1: •*'' hare outfitted fine bands all over the U.S.A. predicted great success for pianist Wh H’jTatTSatisfaction guaranteed! Rozelle Gayle . . . June Christy became Also SOLIDS—$16.75 • TUX PANTS—$10.00 Stan Kenton’s vocalist A Down ’ “J ’ Fr.. sample materials sent on request Beat review of the Dizzy Gillespie recording of Blue ’n Boogie and Groov­ TOWNCRAFT CLOTHES ~ in’ High termed the riffs involved “not new . . . they’re obvious, but still in­ nei teresting.” . . . Capitol initiated its JOHNNY GRAAS RECORDS WESTLAKE History of Jazz record series ... A Th. WESTLAKE QUINTET. Beverly Hills, Calif., inventor demon­ vei Fedirai, hat been recorded by Great for Dacca on title ''COL­ strated a long-playing record to inter­ LEGE GOES TO JAZZ*' W.tVak. College hat dorm, daily donee ested record company executives . . . ser Norman Granz came to New York from trance Jun., OcK Feb Ut. coupon for free illu* Catalog. the west coast and proclaimed, “Jazz WESTLAKE COLLEGE OF MUSIC in New York stinks. Even the drum­ (A Starecno''erea non-orofit college granting degrees) mers on 52nd St. sound Like Dizzy ” 7190 Suwet Blvd.. Hollywood 46. Calif. DB 62757 HO 2-2307 (First of Two Parts)______, Look Again New York—What qualifies for TOP DRUMMERS EVERYWHERE perhaps the most oddly - mated PHOTOS quartet of the year was set to "Charley" WilcoBoe’s Mod.rn BAND LEADERS A VOCALISTS debut June 2 on the Ed Sullivan RUDIMENTAL "SWING" SOLOS Actual photos, 8"«:0", g lossy prints, Show. A "gam" in today's "Jan" ready to frame or put in e scrapbook. The voices teamed were: Tony Develops reading and .«ecution to « for $1. Sample photo 35* (Ind. substitutes) • high degree of drumming skill. For o limited tlmel 10 for tl Martin, Janet Blair, Lily Pons, $2 50 P.P. No C.O.D.'a SCI KIER'C HO *♦* Av.., N.Y. 36, N.Y. and Sarah Vaughan. "Chorley* WHcoien Drum Shop ■Mtn a Eat. 44M1 g 4Slh $H 349 Th. Arcade Cleveland 14, Ohio Anyone for rock ’n’ roll?

Dowu Beat । 14) Onyx cl ib classic modern •d a se' es igeles . . . By Ray Ellsworth report that WU reasonably . Janette GEORGE AVAKIAN, that peerless note passages of the finale of Gunther th WBI M sponsor und annotator of recordings Schuller’s Symphony for Brass and Percussion. Note for nervous people: trie was et featuring Bessie Smith, Bix Bt ider- becke, Louis Armstrong, and Dave he does. ne band as Brubeck at Columbia Records, is pre- icians com- seating, with his THE WHOLE SHOW on CI. 941, iusiness at wife, Anahid Aje- what is played, who does what, I pre­ rk . . . The mian, a series of sume you already know, since by now g $l,00(» a concerts nt Town it has doubtless been noted in the re­ Deuces on Hall in New York view columns here. No need to list lita O’Day City under the title them. Schuller’s Symphony cannot be, at this stage of the game, anything but rnton band of “Music for Mod­ u tour de force, a brilliant job which d a second erns.” To be mixed up in this little exploits the instrumentation to the nth ionic audi- gathering of kindred degree, and which has its own kindjtf BILL FLANNIGAN'S n his first spirits (at this writ­ excitement, but in the end it remains cquet, Nat ing, anyway) are a tour de force. . featured solo spots with successful Dimitri Mitropoulos, Some kind nf balance, or something, "The Sweetest Music d included Duke Ellington, The is missing—maybe that is why this This Side of Heaven" iker, Gene Modern Jazz Quartet, Virgil Thom­ score was so powerfully suggestive to i. Tommy son. Chico Hamilton. Willi op rec­ supplanted by calypsomania. To this ord charts, it’s no more than fair that mt Peggy King be given a crack at dra­ Hr Yo» tove by ovyin« direct from the factory erudite end he spends most of hit? time in night clubs scowling at the Infernal maturgy. Appearing opposite Dana pii The*« Congo Dr«m< cannot be dvplicatad for y Machine, finally “pioves” that rock ’n’ Andrews and Sterling Hayden in Zen Joi $100 00 and ore not available enywhoro a’la. J? roll is indeed destined for ignominy. Hour, now shooting at Paramount, roí RUSH roue ORDER TO He converts the "bop girl” to calypso; she's been cast as “the heroic steward­ br< i ABBY DRUM CO. > gets belted around by the nitery opera­ ess of a stricken airliner with the he Dap*- 'O’ * 0. O. Bos 333 • Station D tor (George O’Hanlon); and evades the passengers’ lives in her hands.” coi 7 a*».land 27, Ohio clutches of an altar-eyed eugenics in­ Just to keep the record straight in < oi Encton cheek or money s*o«> a-d wo pay structor (Margo Woode). the Presley file, must report that MGM Mr Qmvrvrw vnippvo v.v.v. Kick for jazz fans is found in one finally settled on Jailhouse Rock as Oi sequence with Lord Flea & Co., as title of his new epic. We’re informed jar the Trinidadians embark on a sort of that Mr. Swivel considers the title Bo “calypso-bebop” arrangement wherein tune good (?■?) enough to be another they yodel a series of “ool-ya-koos” and Hound Dog, Y’know, it’s becoming pu t easier and easier to get nostalgic 'bout Sti Remember! the Flea himself scats Charlie Parker licks. What relation this has to the rest The Good Old Days. Su Newport Jan Festival da July 4, 5, 6, 7 of the insanity rather eludes us, A group led by tenor man Nino Sb Tempo serves up an appropriately lej frenetic intro to the pic, are seen on Heard In Person camera for several minutes before the of Learn to play the BONGOS main titles. The personnel of Teinpo’t (Continued from Page 35) Pa ... PROFESSIONALLY! combo is in itself a boot. It’s wholly comedy set called the Pantomaniacs, composed of young Hollywood jazz mu­ the unhip clientele responded surpris­ wh sicians: Norman Pockrandt, former Be ingly. Before an audience more sim­ H< 6« Herman pianoman; Lloyd Morales, Les patico with the basic feeling of the act, its Brown’s drummer; Don Payne, bassist Buddy would undoubtedly knock 'em LIST'S PLAY with Harry Babasm’s Jazzpickers; gui­ dead. I Fs tarist Dempsey Wright. That they rock Attitude of Performer: On stage and sh ’n’ roll with the worst of them doesn’t off, Buddy Rich is a broadly matured th< seem to matter in the least. In fact, performer. After the show, several Bi they all look as though they're getting young persons came to Buddy’s table Ph a terrific charge out of the entire mess for autographs. One of them made a an —and sidelining being lucrative as it good-natured remark invoking the sir is, they probably were. name of Gene Krupa. Buddy grinned SENSATIONAL NEW 12” long play Album! Ironic payoff to any comment on and signed his name. When the young­ Bop Girl Goes Calypso may lie in the sters had left, manager Craig Ritchie re For beginners phenomenon that by the time the film remarked, “If someone had said that hits the theaters, the already waning five years ago, Buddy would probably Pi and advanced pi< Bongoists calypso craze will have sunk slowly have smacked him in the mouth.” 'neath the Caribbean horizon. Commercial Potential: Las Vegas, the re UB Narration On and Off the Beat: With the Chez Paree, New York’s Copa—all '.ri Pictures scrawl on the wall now pointing the should be signing on the dotted line for and Musical way for movie -«tars er masse to con­ Rich before long. Currently apparent St Accompaniment tribute to the glut on the pop record rough spots should disappear as the w market, we learn that the two latest act jells. Bi “singing” properties available to a&r Summary: A great drummer who SU l*5MNWr men arc none other than Yvonne De­ sings, dances, has a good line of patter Ri AT YOUR FAVORITE RECORD STORE NOW’ Carlo and iron-jawed Jack Palance. . . . works within a well-written, cli- There’s a frustrating sequel to our mactically building act, replete with Pi recent Tai Farlow bit (Down Beat, May very good material, Buddy Rich is ob­ ja 16). Though simpatico readers have viously climbing them golden stairs to sti HIHIUCUMII been writing in suggesting various where he wants to go. That he’ll make th means to locate the elusive guitar man it is a virtual certainty. hil S Si “LET'S PLAY BONGOS R-803 the Mitchum >ffice now informs as that —tynan ¡Ui

Down Beat Ji Hal He ly To (Continued From Page 8) or digs Tai n-iting into June 15 Joe Reisman conducts the band . . . Gene Feehan r the Tar- continues his absorbing and highly musical jazz series on but vain WFUV-FM, entitled Adventures in Modern Music. America's regret that CHICAGO -minus any Tai missed JAZZ, CHICAGO-STYLE: The Stan Kenton band is wind­ ing up a two-week booking at the Blue Note. Comic Mort catch the Sahl and Eli’s Chosen Six open for two weeks on June 19; DJ's ow farmed the Billy Strayhorn trio and Lurlean Hunter star from July lelp noting 3-7, with Duke Ellington and Dizzy Gillespie to split the four underscore following weeks . . . Gerry Mulligan’s group is at the Mod­ r the epic, em Jazz room until June 19, when the Modern Jazz Quar­ tet returns for three. Chico Hamilton’s quintet is set to o round up move in July 10. Fred Kaz continues playing inventive, two- » play Ren handed intermission piano at the Modern Jazz room . . . ¿6 Columbia’s Barbara Carroll’s trio has occupied the London House and artist spot will be in residence until July 3, when Oscar Peterson’s trio arrives . . . Erroll Garner is set to return to the Lon­ ove an don House for the month of August . . Buddy Greco and ipartment: Teddi King are sharing the bill at Mister Kelly’s. July 1 esps meta- signals the arrival of two pairs, Martha Davis and Spouse f late with and Cindy and Lindy, to Kelly’s. » ie pop rec- The Dukes of Dixieland are at the Preview for a sum­ i fair that mer-long stay . . . Joe Burton's trio has taken over the ck at dra- Harry Slottag trio slot at Mister Kelly’s, as Slottag and site Dana pianist Lee Lind found themselves replaced . . . Bassist en in Zen Johnnie Pate joined Dorothy Donegan’s trio to return to ’aramount, road work after a long period at home . . . Erroll Garner c steward- broke all existing concert records at Loyola university when with the he appeared there recently to highlight a Sunday jazz ds.” concert. His success may open the door for additional school itraight in concerts in this area . . Jerry Friedman replaced Al De­ that MGM Marco as bassist with Joe Parnello’s trio at the Black i Rock as Orchid. Hal Russell is the drummer . . . The Monday night i informed jam sessions at Jazz Ltd. feature the efforts of Jack Cavan, For 'True Love the title Bob Cousins, Steve Behr, Duff McConnell, and Floyd O’Brien je another . . . Vibist Max Miller and the Eddie Baker trio (Baker, becoming piano; Bill Lee, bass; Kay Tiedel, drums) are at Easy algic ’bout Street, along with vocalist Leigh Travis, Wednesday through Selection Sunday. Pianist Blind John Davis is at Easy Street Mon­ day and Tuesday . . . The Gene Esposito trio is at the SRO on Wednesday and Thursday, replacing Jimmy Gour­ ley’s trio. son ADDED NOTES: Eydie Gorme is at the Empire room of the Palmer House . . . Nat Cole is concluding a Chez 35) Paree booking, to make way for 10 days of Danny Thomas tomaniacs, . . . Jerry Lester is at the Black Orchid until June 24, d surpris- when the nimble Jack E. Leonard comes home . . . Tex tnore sim- Beneke’s band is set for a one-niter at the northwest Holiday ballroom June 14 . . . The Black Orchid has dropped of the act, w ban manti. afterhours sessions Sundays at 2:00 a.m., at Bill Whisling’s Modern Jazz bar. He is due to join Bill Doggett . Lat This convenient HOME STUDY Harmony room. This would make the club the Leroy Rocquemor and his band are and Arranging Ccurse h simple yaf only late-late spot in Hollywood . . . working at the Famous Door every thorough . . , with all the trick* of modern Wingy Manone took a group into the night except Tuesdays . . . Don Elliott arranging drawn from landing musician* Royal room at Hollywood and Las and Toshiko were co-features at Baker’s 1 tha country over. Paimas . . . One of the brightest groups Keyboard lounge for two weeks. for Stady at homa Io spare time, it's th» to hit town in ages, the Pat Moran —donald r. atone Clu quick, inexpensive way toward high pay quartet, looked like a good bet to take Rei Send now for free Catalog and illustrated the Interlude stand after it finishes at at sample lesson* No obligation. the Encore. Beverly Kelly, vocalist in Washington, D C. Jur the combo, is cutting her own LP for ike Bethlehem . . Hadda Brooks moved in The lineup of the new band at the wil UNIVERSITY EXTENSION beside Harry the Hipster at the Tiffany. Vineyard is Dick Williams, drums; Bob era CONSERVATORY Club now holds Sunday sessions start­ Felder, trombone-arrangements; Jack wit ing at 3 p.m. Vet Dept E-705 • 2000 S. Michigan Chicago Ii Nimitz, baritone; Keeter Betts, bass, Ma H DANCE BAND ARRANGING HARMON* The timeless Mills Brothers follow and Elsworth Gibson, piano . . . The j History and Analysis of Musk Guitar June Christy into the Crescendo June outdoor Carter Barron amphitheater con J Comet • Trumpet □ Voice Mandolin 21. Dave Pell octet remains onstand to has a big jazz package booked for June roo J Frofessiona, Trumpet Vio’in play for dancing . . Tack Millman’s Po» J Hano, Beginner's i ' teacher's Clarinat 28-July 3. Featured will be the Louis FUBLiC SCHOOL MUSIC Saiophona quintet blows weekends at the Califor­ Armstrong All-Stars. Erroll Garner Ha □ Beginner □ Supe-»isor □ Choral Conducting nian on Santa Barbara . . . Drummer trio. Jack Teagarden, Kid Ory, and Double Counterpoint ~1 Ad». Composition Jill Sharon and her group went into Earl Hines . . . The Casino Royal had a □ Ear training B Sigh« Singing the Colver House in Culver City. bluesy two weeks in early May when Neme ...... *«• BAND BRIEFS: Lot of lifted eye­ it booked, successively, Ivory Joe Hunter and Big Joe Turner. Street ...... brows at Harry James’ Palladium open­ 1 ing when the leader put down his horn »•ta The calypso package at the Capitol fea at» ...... and took over the vibes . . . Bride­ theater—the first stage show in years Music Experience ols groom Charlie Barnet returns to the at the downtown theater—drew disap­ lit dancery June 14- pointing crowds . . Abart’s Interna­ albi —tynan tionale has been holding Tuesday and trio BEGINNER Thursday night sessions in addition to ton its regular weekend iazz policy. Horace Cui ORGAN COURSE San Francisco Silver and J. R Monterose were recent FOR THE HAMMOND ORGAN to 1 Pianist Fran O’Neal with a group sitters-in. Gene Ammons is in for an Fai EVERYONE can learn to READ that included Gus Gustafson on drums indefinite stay at Abart’s. MUSIC and PLAY the organ with followed Jean Hoffman and the trio at —paid sampson hai this newest and most modern meth­ the Jazz Workshop. Hoffman has signed od. Look—NO ABC’s, NO Numbers, with ABC and is off to L. A for a date NO Special Fingering, NO Scales, at the Interlude . . .Virgil Gonsalves Baltimore NO Special Music, NO Gadgets, NO took his sextet into the Moana Surf With business picking up, Club Tijua­ Tricks, NO Previous Knowledge of club. Personnel: Gonsalves, baritone; na has stepped up the jazz policy '1 c Music Necessary. You just look at Mike Downs, trumpet; Danny Paferis. along, with the Comedy club. Eddie the notes and play the pedals and the tenor: Bob Fulhrod. drums: Clyde (Lockjaw) Davis is at the Tijuana, Tai the keys INSTANTLY. It’s as easy Pound, niano. and Eddie Kahn, bass . . . with Billie Holiday booked for the week as that. The Dave Brubeck plaved a concert at the of June 18 . .The Comedy club had roo TEACHERS — Learn more about Palace of the Legion of Art in May Eddie Heywood for the week in May. thn this NEW method. It’s EASY! It’s . . Dick Salzman continues at the with Stan Getz following . . . TTie Red ban FAST! It’s INTERESTING! It’s Rendezvous and handles the off-night Fox, which is still on a calypso kick, at FOOLPROOF! NO MORE STRUG chores at the Jazz Workshop. Bruce has singer Andre King with the house Thi GLE WITH THE BASS CLEF! Paulson is on piano . . Bob Scobey rhythm section . . . The Kurt Watkin* jar Send *2.00 for your book of ten opens at the end of June for six week­ quartet is still at the Club Astoria visi easy to understand lessons to ends at the Pioneer Village in Lafay­ after many weeks. grò ARP’S SCHOOL OF MUSIC ette. to be followed by dates at Tahoe. The Interracial Jazz society’s May 18 Bip BURLINGTON, IOWA Louis Armstrong booked into Har­ jazz concert featured a tenor sax bat­ org rah’s dub at Tahoe to open the season tle between Gene Aminons and Buck rep May 30 . Turk Murphy opeped June Hill of Washington, D C., along with Bop Glosses 4 at the Tin Angel following Kid Ory Fats Clark, drums; Teddy Smith, bass, . . Tenor saxist and clarinetist Frank and Fox Wheatly, piano. Mickey Fields, $2.25 Pair (Big Boy) Goudie, back in the U. S. a local tenorist, sat in on the third set, Tintad Lenses after 30 years in Europe, now in San —al cottman (Ivan * Ladies) Francisco . . Earl Hines unveiled his pea (town or Blade Frames big band at a concert at IT. C. early in sho Hand Maha Opt.cal Frame Bop Glasses S3 50 May giving a “history of jazz” with Cleveland the Bop A String Ties...... $1 00 ec samples from various styles . . Tommy SECTON SALES CO. -Dap* - -D It looks as if the two main music of TUB I. 14th St. Brochlyn 30, N Y. Kahn now on piano at Ann’s 440 club C.O.D.'i accepted in U. S only . . . Les Brown played a weekend in rooms downtown will be going strong all summer with name groups. The I'&l San Francisco at the El Patio May 24 Loop lounge has booked Max Roach wet Exclusive Photoe and 25. with Louis Jordan and Sara McLawlor the BANDS IN ACTION —ralph j. gleason to follow. At the Modern Jazz room, one D«. Action picture« of all name eaders. miui- will be Phineas Newborn, Erroll Garner, riant veraltete, alio Rock 'n" Roll Artists. Chris Connor, and Oscar Peterson . . • pia Guaranteed 'o please 50c epch 4 for SI 00 Detroit in ARSÈNE STUDIOS The Chester High hand has moved from Altoist Charles McPherson’s quintet, the Kinsman grill, after a nine-month El 754 — 7th A »enne. N. Y., N. Y. featuring trumpeter Lonnie Hillyer and gig, to the Flame bar. The band con <*lawv a'VO I nobtalnakle eUewliarr drummer Roy Brooks, was presented in sists of High on tenor; Roland (Slick) Jiu M) Down Bea« Harris, piano; Leon Stevenson, drums, State uni- and Sammy- Abrams, bass. new Krulignee lisc jockey Appearing at the Corner Tavern is radio and tv on the bill Joe Alexander, tenor, with Jimmy ■ Clayzelle Saunders, piano: Ernie Sheppard, bass, ______By Will Jones erson, and and Leroy Jackson, drums . . . Lucci- oni’s swinging week ie Holiday boasts a band on If Those Weren’t real tears running the Flame ends. The group consists of Ramon down Polly Bergen’s cheeks when she ey is play- Stone, trumpet: Tony D’Angelo, tenor; played Helen Morgan on Playhouse 90, i week at Ickey Valenti, drums; Ted Miner, piano, I hope nobody ever tells me. and Nick Perna, bass and vocals. This one sax ¡st And if that really wasn’t the way rulic Sh >w band plays everything from jazz to Latin American music. Helen Morgan lived her life, I hope aggett . . . nobody ever tells me that, either. band are —fan frost oor every Without knowing )on Elliott Columbus much about Helen at Baker’s Morgan at all, 1 was Lynn Hope is booked back in town so completely taken ;ks. for a June 13 opening al the Copa Id r. stone in by the creature Club . . . Sonny Stitt is at the Club portrayed by Miss Regal . . Carmen McRae is warbling Bergen that I want Jewel Mouthpieces at Kitty’s Show bar for the month of to believe that’s June with piano, drums, and husband, really the way it al) • Used by such musical greats as: Ike Isaacs, on bass . . . The Tunesmen was—classically sad, ind at the will be at the Grandview inn for sev­ classically boozy, Eddy Bert rums: Bob eral w eeks . . . Calypso arrives June 24 classically pretty. Les Elgart inte; Jack with Harry Belafonte appearing at the I’m trying to shel­ Carl Erca etts, bass, Veteran’s Memorial building • . . Ralph ter myself, you see, Ruby Braff Marterie made a well-received and wel­ ... The from the kind of Bobby Hackett phitheater come appearance at thi Crystal ball­ attacks and amplifications and reinter­ Billy Butterfield d for June room the first week of June . . . Bus pretations that always crop up after the Louis Powell, local drummer, joins Wendell some past great has been portrayed on Hawkins’ trio at the Key West lounge H Garner a screen. The precision built ZOTTOLA Ory, and . . . Sil Austin is at Marty’s 502 club mouthpieces, with exclusive I am in no position to judge whether, oyal had a —don basham “Stepped fiack-Sore" May when when Miss Bergen sang Bill, she sang vory Joe Cincinnati it as well as Miss Morgan did in the promotes comfort • reduces fa­ old days. From my point of view, I can tigue • assures the most exciting The newly opened Peacock lounge is only hope, for the old folks’ sake, that brilliant tones he Capitol featuring the Landis Fine-Larry Nich­ Miss Morgan did it about as well as V in years ols duo and vocalist Judy James . . . Miss Bergen. ZOTTOLA mouthpieces . . . rew disap­ Fraternity Records has a Gene Austin s Tnterna- album upcoming . . . Milt Buckner’s THE NAME OF Helen Morgan was The World's Finest esday and used around the house when I was a trio swung the Dude Ranch in Hamil­ For trumpet, cornet und trombone iddition to ton during a week’s stay- . . . Altoist child, I guess, and I seem to remember cy. Horace Curtis Pigler and his sextet are soon tae newspaper pictures of a woman 'ere recent to be heard on Mercury . . The Johnny who struck me then as a kind of ema­ in for an Faire trio continues at the Hangar bar ciated Betty Boop. I wasn’t much in­ ottola terested in sad faces or sad songs at . . . Pat Boone’s show at the Music products tl sampson hall was a large flop. the time. Even in recent months, when —dick schaefer plans for the movie and television bi­ ographies were announced, I couldn’t Port Chester N.Y. WE 9-JÎ30 work up much interest. DEALERS . . . DISTRIBUTORS Toron+o I have to admit tuning to Playhouse Wr'te today for information on this fast tailing. Hub Tijua- high quality Une izz policy The Australian Jazz Quintet followed no that night out of a kind of perverse ub. Eddie the Max Roach quintet into the Colonial curiosity: how could a perky, bouncy SPREADS FARTHER thing like this Polly Bergen—a panel­ ■ Tijuana, Tavern in the latter part of May . . . LASTS LONGER r the week The Tunesmen played the Pyramid ist—settle down to play this sad, white­ club had room at the Prince George hotel for faced old poop from the past? HOLTON k in May. three weeks . . . The Richard Maltby . The Red 1 HAD BEEN underestimating Miss band was scheduled for a one-niter Bergen. And I had momentarily forgot OIL ypso kick, at Mutual St. arena on June 13 . . . the house to reckon with Playhouse 90 and di­ The Four Grads and the Peter Apple­ rector George Roy Hill. ■t Watkins yard quartet are making a pilot tele­ b Astoria Their interpretation really wasn’t vision film . . . The Billy O’Connor very kind to Miss Morgan as a per­ ratios. ■■Itera coiilat- ancy—Holloa OH tests group, the Bert Niosi band, and Bill former. It made her out to be not a v’s May 18 Butler’s group are a few of the music­ terrific singer of sad songs, but a lor ias*r«m«it* octl«a r sax bat- organizations scheduled to do summer woman so mixed up in her personal replacement shows on TV. and Buck affairs she couldn’t help crying onstage. Wita droppat applicator ilong with —roger feather It’s not a very flattering comment on a k With swap applicator Nc mith. bass, performer, at least in the show-must- BUY IT AT key Fields, Montreal go-on sense. But it’s quite a part for * third set. an actress and Miss Bergen made the MUSIC C1EALERS EVERYWHERE al cottman Marian McPartland made two ap­ most of it. pearances on CBM’s Jazz at Its Best As entertainment, Helen Morgan had show in May . . . The Four Aces were more to offer than any of the biogra­ • ORCHESTRATIONS the name bill for the first anniversary phies of singers I’ve seen on any screen lain music of the Faisan Bleu outside Montreal of any size lately. I'm afraid it may • COMBO ORKS »BAND MUSIC ing strong . . . Willis Jackson’s band was at the have ruined, for me, The Helen Morgan oups. The r&b Esquire Showbar in May for two Story, which is coming along as a • Musical Supplies lax Roach weeks. Shot Gun Kelly’s band shared movie. If I go to see that, it will be to McLawlor the first, Fat Man Robinson’» the sec see how Ann Blyth plays Polly Bergen, For Free Catalog Write to: iazz room, ond . . . Paul Notar’s quartet is at the not Helen Morgan. oil Garner, Dow n Beat . . . Freddy Franco has re- TERMINAL terson . . • placed Parisian guitarist Rene Thomas in the Johnny Lasalle quartet at the IF SID CAESAR really disappears MUSICAL SUPPLY, Inc. loved from C£0. DB, 113 W. 43 St.. N. Y. 36, N. Y. line-month El Morocco. from TV next season, it’s going to hand con —henry f. whiston mean the loss of Sid Caesar, saxophone nd (Slick") June 27. 1957 41 town Beal player, as well as Sid Caesar, come­ dian. It will be a blow to the cause of more and better music on TV, and I don’t tape recordings mean to be facetious. ______By Jack Tracy Caesar’s take-offs on hipsters, with or without thick glasses, as well as his It’s Been Some 10 Years since gui­ have yet heard, and seems to me to lampoons of Lawrence Welk, Guy Lom tarist Oscar Moore left the Nat (King) fulfill most of the requirements for bardo, and others, have been some of Cole trio. That his presence on the a splendid recording—it is m stereo, his funniest bits. And let’s don’t for­ jazz scene has been sorely missed is it contains fir str ate music, it is ex get the satiric scores for his movie startlingly emphasized in a quite won­ cellently recorded, and it is available satires. derful stereo taping of his talents re only <n Tour—East) GAC Barron, Blue (Salt Air) Salt Lake City, Utah Morgan, Russ (On Tour—East) GAC out 7/20, b Morrow Buddy (On Tour—East) GAC Bartley, Ronnie (On Tour—Texas Louisiana) Munro, Hal (Milford) Chicago, b NOS Palmer Jimmy (On Tour—Midwest) GAC Beecher Little John (On Tour—Midwest) NOS Pastor Tony (On Tour—South) GAC Belloc, Dan (On Tour—-Midwest) GAC Peeper, Leo (On Tour—Midwest) GAC Bo Eddie (On Tour - East) SAC Phillips, Teddy (O’Henry) Willow Springs, Butler, Jacques (On Tour—Eaet) GAS 111., b Butterfield Billy (On Tour—New York Terri- Lloyd (Weake’s) Atlantic City, N. Culxit, Chock (On Tour- Southwest) G\C Calame Bob (Or. Tour—Midwest) NOS leanth. Harr, (Golden) Reno. Nev., out 8/15. li Carle, Frankie (On Teur—Midwest? GAC Rank. George (On Tour Midwest) GAC Clayton, Del (On Tour—Midwest) NOS Ray, Ernie (Bella-Vista) Billings, Mont, nc Columbo, Chris (Harlem Club) Atlantic City, Raeburn Boyd (On Tour—East) GAC Dr tudio Devices (.-slot reel. Tape Reed, Tommy (Mueliiebach) Kansas City. Mo.. is slipped inIn groove and immediately Contino. Dick (On Tour- -East) GAC is ready for operation. Cross, Beb (Balinese) Galveston, Texas, out Reichman, Joe (On Tour South) GAC 9/4. nc Rudy. Ernie (On Tour Southwest) GAC Herman. Denn* (Sahara) Las Vegas, Nev. out Cummings. Bernie (On Tour —Midwest) GAC Nedlar, Jimmy (On Tour East Coast) MOA 9/16, h Dale. Buddy (Aragon) Cleveland. Ohio, 6/15, Snyder. Benny (On Tour—Ontario) Hunt, Pee Wee (Crest) Detroit, Mich., out b: (Melody Mill) North Riverside, Ill., 6/19 Sonn, Larry (On Tour—East) GAC 7/1, b; (Centennial Terrace), Sylvania Ohio. Spivak. Charlie (Beach) Wildwood Crest Jackson, Milt (On Tour- East) GAS 7/4-6, b N. J., out 7/25, ne John. Little Willie (On Tour—Southeast) DeHanis Al (Plantation) Greensboro, N. C.. ec straeter, Ted (Plaza> NY> h Johnson. J. J. (On Tour—Furope) ABC Donahue Sam (On Tour—East) GAC Sudy, Joe (Pierre) NYC, 11 Jordan. Louis (On Tour—Midwest) GAC Eberle Ray (On Tour— East Coast) MCA Thai, Plenum (Royal Hawaiian) Honolulu, h Kelly, George (On Tour—East) GAS Elgart, Les (On Tour—New Yt'k) MCA Thornpsen. Sonny (On Tour Midwest) UA lambert, Lloyd (On Tour—South) -«AC Ellington. Duke (On Tour—Midwest) ABC Wuplre, Buddy (Colony) McClure Ill., nc Mamai. Hob (Milla Villa) Sioux Falls, S. Ennis. Skinnay (On Tour—West Coast) Mr A Walkins Sammy (Statler) Cleveland, Ohio, 1 nc Ferguson. Danny (Brown Suburban) Louis­ Williams. George (On Tour—East) GAC Mi Partland. Marian (Composer) NYC, out 8/4, ville, Ky„ out 9/7, h Ferguson Ma; nurd (Steel Pier) Atlantic Cltv Midnighters (On Tour—South) UA N. J., out 7/11, b combos Vegreb Tons (On Tour—East) GAS Field« Shep (On Tour—Texas) GAC Paley, Norm (On Tour—East) GAS Fisk, Charle- (Palmer House) Chicago, h Burge Gene (On Tour—East) SAC Peterson Oscar (Modern Jazz Room) Clesu- Fitzpawick Eddie (Mapes) Reno, Nev., h Bell, Freddie (On Tour—Europe) ABC land, Ohio, out 7/14, nc Flanagan, Ralph (Elitch’a Gardens) Denver. Belletto. Al (Ottawa House) Hull Canada out Press, Joel (Ou Tour—East) GAS Colo., out 7/22. b 7/14, h Prysock, Red (El Rancho) Chester Pa. out Fitster Chuck (Aragon) Chicago out *.'25, b Blake. Artie (On Tour—East) GAS 7/14, nc GUleepie, Dizzy (Cotton Club) Atlantic Citv. Bley. Paul (Hillcrest) Los Angeles, out 7/15, Putnam, Jerry (On Tour—East) GAS N. J., out 7/14. nc nc Rico, George (Syracuse) Syracuse, N, Y , h Gordon Claude (On Tour—West) GAC ’ ap, Jae (Or. Tour—East) GAS Rocco, Buddy (Syracuse) Syiacusi, N T„ h Herman, Woody (On Tour—Ea>t) ABC Carter Ray (On Tour—East) GAS Rosa. Angel (On Tour—Eu-t) GAC Jackson. Willis (Small’s Paradise) NYC. nr Chamber Music Society of Upper Charles St Sabrea (Terrace) Norwalk, Calif., out 7/20 nc Jahns. Al (Thunderbird) Las Vegas, Nev nc (Band Box) Baltimore, Md., nc Scott. Bobby (Hickory House) NYC, nc Kenton, Stan -Oi Tour- Midwest) G 1C Charles Rai (On Tour—South) GAC Smith. Jimmy (Hurricane) Pittsburgh, Pa, King, Henry (On Tour—Dallas Territory) MCA Dixieland All-Stare (Red Arrow) Berwyn III out 7/13, nc Laine, Buddy (On Tour—Midwest) nc Three Jacks (Wheel) Colmar Manor, Md., nc Lane, Eddie (Roosevelt) NYC, h Doggett, Bill (On Tour—South) SAC Three Sparks (El Cortez) Lar Vegas, Nev. h Long, Johnnie (On Tour—South) GAC Domino Fats (On Tour—California) SAC Towles. Nat (Elmo) Billings, Mont., NOS Love, Preston (On Tour—Texas) NOS Dukes of Dixieland (Preview) Chicago, out Troy, Dave (Or Tour—East) GAS Lund, Parker (S rt-ler) Buffalo, N. Y., h 9/8. nc 4 -mghnn. Berj (Holiday Hou«e) Saras«» a Maltby Richard (On Tour—Midwest) IBC I ngler. Art Golden < Reno. Nev., out 8/13, h Fla., out 7/15, nc Marterie, Ralph (On Tour Midwest) GAC Hamilton < hico (Modern Jazz Room) Chi­ WeMi, Red (N.w Orleans Room) Kansas City. Martin, Freddy (Ambassador) Los Angeles, b cago out 7/24, nc Mo., nc.

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