There Coleman Hawkins and taste, and his solos are joyous and excitemi COLEMAN HAWKINS--Crown 206: Btrumpet; Eddie Costa piano, vibrabarp; Armstrong’s influence shines through jyiooDs George Duvivier. bass; Osie Johnson, drums. treat I nearly every note Jefferson sings and plays. jestic. a Reiterating the contemporaneousness of Pianist Hug has good solos on Changes The j Coleman Hawkins has become by now and Apple Tree, but his playing through­ Walkin' something of a cliché. But cliché or not. out the other tracks is generally below semblan here is a 56-year-old veteran who started par. He has spent much of his career is cert ii ill playing solo piano for New Orleans’ so­ more in V E in jazz 40 years ago with Mamie Smith’s Jazz Hounds and who today more than ciety set, and it was always a wonder hand h hearing him create stunning melody amid The MOODSVILLE series is being holds his own with “kiddies” like Thad Olatu all the cocktail chatter. There is nothing released as an antidote to all those Jones and Eddie Costa. It is a thing of attempt murc than a sliver of his ability apparent feelings so-called “mood” albums that have wonder, to be sure, to hear Haw'kins blow­ ing with those “modernists” in this re­ in this album. tunes as no mood at all. We feel that great laxed set where none of the tempos rises Capraro. on the other hand, is won­ is the c jazzmen, playing relaxed, after­ above medium-up (Ed. note: see page 15.) derful. His solos unfold with beautiful the cull hours standards with small groups, Frameworks for the blowing are in the coherence and lyricism, and his accom­ It has paniment for vocals is superb. On can create albums of subtlety and familiar mold of stated theme, solos in Some­ in it the taste, suitable for backgrounds or turn, and out chorus. Orbit, the brisk day and Apple he floats guitar lines another behind Jefferson's blues-tinged voice, giv­ The series, we opener, finds Jones blowing open horn, There serious listening. ing an added warmth and sparkle to the followed by Hawk playing as if he’s gol all here, ai think, has resulted in some of the performances. Mangiapane and Hazel the time in the world to make his point. presenti finest albums we have ever produced. round out the rhythm section, and while Midnight reveals the tenor giant on an package Apparently, Cashbox agrees: “This both are excellent musicians, both sound almost languorous kick as he opens alone series offers the most con- as if they were playing under wraps for Prestige and follows with a long solo Jones plays Gei this session (G.M.E.) sistently gratifying “mood” music warmly, with Costa comping m keenly GERR' on disc, For the volumes not only HODGES attuned fashion Hawk returns, this time Jerry Leiber-Mike Stoller Rush?; serve as fine backdrops, they also in a bustling, double-timing rush of notes YAKETY YAK—Atlantic 8047: Yakety Yak; Carrots f provide worthwhile jazz." These are before slipping into a closing arabesque Loving You; Black Denim Trousers and Motor* Persom cycle Boots; Baxoom; Poison Ivy; Kansas City; baritone the three most recent releases: flight. Hassle appears to be misnamed, for Jailhouse Rock; Smokey Joe's Cafe; Don’t; Mel Lew all goes smoothly. Jones waxes light and Charlie Brown; Hound Dog, Personnel: Jimmy Nottingham, Ernie Royal, and airy and is followed by Costa, on vibes either Joe Newman, George Cohn or Thad Jones, This this time. As Costa plays in his nonag­ Eugene Young, trumpets; Frank Rehak, Benny critical Powell, Henry Coker, Al Grey, trombones; Frank VOL. 7 AT EASE WITH gressive manner, Johnson cooks behind Foster, Charlie Fowlkes, Billy Mitchell, Marshall Anyone COLEMAN HAWKINS him. rapping rim-shots on the fourth beat Royal, Frank Wess, Seldon Powell, saxophones; two soli on each bar in the background. Freddie Greene or Allen Hanlon or Kenny Burrell, “Now, in 1960, he has guitar; Hank Jones or Ellis Larkin, piano; Eddie original which opens the second Jones, bass; Sonny Payne, drums. gone back to the Hawk- Moodsville, three b side, is a medium-up blues with Jones fly­ ins of 1939 ... he has collabo> ing into a rapid solo opening, very much Messrs. Leiber and Stoller, as those tified M made a ballad album ■n the modern manner and sustaining the students of the less esoteric popular arts rhythm which will make you feeling throughout. Hawk digs into the may already know, are the authors of the two forget all the years blues and holds on firmly; then Costa a number of tunes which have enjoyed expect ; that have come be- emerges, rippling out piano bass notes, considerable commercial success. Eleven Casui tween.” dark-mooded and intense. The medium- are included in this album Together with longs ir

—C. H. Garrigues, tempoed Stalking has tenor-trumpet-vibes Frank Foster, they have prepared a group future < rapping out the short, staccato figure on San Francisco Examiner of humorous and jazz-based arrangements which the line is based before the solos for a big band in the Count Basie style, commence. Jones, muted now. blows a using many of the sidemen from the Basie THE VOL. 8 THE FRANK WESS hard solo with Costa following in similar band. 402; Wil QUARTET Bluzinbe vein on piano while Duvivier and John­ All of the charts are interpreted with Person “Lovely, languid music son blend together in fine rapport. As Du­ considerable élan and the satiric spirit baritone vivier solos, tenor and trumpet spit out tenor, al for nocturnal relaxa­ appropriate to the lyrics. Had there been piano ; tion ... it can’t miss.” the staccatos behind him before Johnson’s more solo space allotted, this could easily drums. drums signal the ending. Leonard Feather, (J.A.T.) have been a very good jazz LP. Even so, Down Beat it is a superior popular/dance-band album. Man; Thoma» Jefferson The worst that can be said is that it pro- ish mu» NEW ORLEANS AT MIDNIGHT Southland vides pleasant listening. (F.K.) just so VOL.9 THE TOMMY 229: All the Wrongs You’ve Dour to Me; Breese; zine?), FLANAGAN TRIO Someday You'll Be Sorry; There'll Be Some Herbie Mann with tl Changes Made; Float Mi down the River, In Just released — superb the Shao of the Old Ipple Tree; Back O'Town THE COMMON GROUND- Atlantic 1343: Couldn lluihdad Asia Minor; Walkin’; Sawa Sawa De; Blues; When You’re Smiling. piece a versions of such sel­ Personnel: Jefferson, trumpet, vocals; Monk St Thomas; High Life; Uhuru; Night in Tunisia; dom-done standards as Hazel, drums; Joi Capraro, guitar; Armind Hug, The Common Ground. this all piano; Sherwood Mangiapane, bass, vocals. Personnel: Mann, various flutes: John Kse, Velvet Moon, Come vibruharp. percussion Doc Cheathum I en Bill. newly Sunday, and In The Ziggy Schatz Jerry Kail, trumpets; Nabil Totsh, and I t This album, featuring a quintet of some bus. Ray Mantill i, conga drum. Ray Barretto, well up Blue of Evening, done bongos; Rudy Collins, drum», Michael Olatunn, of the best musicians active in New percussion Maya Angelou, Dolores Parker, Ola* gan m< tunji, vocals. with Flanagan’s mas­ Orleans, has mixed results. There is a sense i terly, delicate touch. quiel charm about most of these tracks more v Somewhere there is a place for an album that helps spotlight the melodic expression to me of Hug’s piano. Jefferson’s vocals, and, like this. Listening to it or reviewing it his waj with a jazz-orientated ear is little help especially, Capraro’s winning guitar lines. most f< Send for Free Catalogues But there is perhaps too much quiet either to the album or the listener Occa­ sionally a jazz passage will emerge. men charm. There are moments in the brisk good Primarily, the record remains an exercise PRESTIGE RECORDS, INC. last choruses of Smiling and Changes alto. h¡ 203 So. Washington Avenue when the band begins to dig m with spirit, in rhythms and flutes. Of the participating Griff Bergenfield, New Jersey but there isn’t time to develop the mood. musicians, only Rae retains a jazz flavor Self-ass Trumpeter Jefferson plays with economy throughout the session. DOWN