And you get the feeling the rest of nel Hampton during the latter's last th« men on the date felt it, too. They European tour. And Byrd is another Hrnvs play like a unit that has worked to­ of the recent valuable emigrants from gether for years, as splendid solo spots Detroit. Clarke is to be congratulated come from Boots and Pomeroy, and the for giving these newcomers such ample All juzz record« are reviewed bt Nai rhythm section moves. space on his date. Hentoff except tho*e initialed by Jack Save for the two striking, moody The blowing throughout is strongly Tracy. Rating: Excellent, ★★★★ ballads (Body and Soul and What’s emotional, unpretentious, and always there is no particular need in Very Good, ★★★ Good, ** Fair, * Poor. New), swinging. Cannonball asserts he was singling out special efforts. Serge has quite nervous on this, his first record a message to offer to them all. It would date, but he come* through as a power­ Eddie Berl behoove you to intercept it. (J. T.) ful Bird-touched voice but is no copier. Fragile; Stompin' at the Savoy; I (Capitol 12” LP T-6510) The man is himself and I expect future ShuuU'n Said; See You Later; Three records will indicate a growing figure Hou Hit; What D’la Say; Billie’» \1 Cohn of importance. His brother is also a Bounce 4 Kiss to Build a Dream On; Dog­ waiter. Byrd, too, indicates consider­ Rating: ★★★★ gin Around; Jump the Blues Away; able ability as well as potential. Rich­ Musician of the Year is the title of Jack’s Kinda Swing; The Natural Thing ardson is competent on tenor, better on the album in which Eddie’s full-swing­ to Do; A. C. Meets Osie; Baby Please; flute; Chambers is a find; Horace puts ing rhythm section consists of Wendell 9:20 Special; Pick a Dill;; Count Me down some movingly earthy piano, and Marshall, Hank Jones, and Kenny In; Freddie’s Tune; Osie's Blues Klook is always in control. The beguil­ Clarke. Eddie also effectively udds a Rating: A-AO ing opening original is by Oscar Pet­ tiford and is dedicated to Cafe Bo­ second trombone voice via tape on the A happy, Basie-ish session featuring first four numbers. First original is by hemia, the comfortable modern a Cohn-led unit called The Natural caravansary in Greenwich Village. The Ernie Wilkins; Bert wrote Said and Seven: Joe Newman, Frank Rehak, Later; Hit and Say are by Ozzie Ca­ other original* are by the Brothers Freddie Greene, Milt Hinton, Nat Adderley. Hear Me Talkin’ to Ya, dena who directed the date. Billie’» Pierce, and Osie Johnson. The arrange­ Bounce is taken as an unaccompanied therefore, is not the same tune recorded ments are by , Manny Albarn, by Louis Armstrong in the ’20s. Very drum solo by Klook, the second in a and one by Ernie Wilkins. Cohn wrote series of Clarke-a-cappella. (The first good recorded sound. (Savoy 12" LP six originals; Freddie Greene did one, MG-12017) was Now’s the Time on the Clarke- and Osie Johnson’s is the last number Wilkins LP. Savoy MG 12007.) of the set. The album swings all the This is Bert’s best record yet under way with a superb rhythm section. his own name. The long-underevaluated Greene, as always, makes so much dif­ The Man I Love; Bemsha Swing trombonist blow« here with a contin­ ference; Pierce is in full empathy with Rating: A AAA A ually flowing series of ideas, an ability the Ba^ie piano feel; Hinton and John­ Miles, Milt Jacksoy., Percy Heath, to meet the rhythmic challenge of his son complete the strong team. Thelonious Monk, and Kenny Clarke in section, a good sound, and first-rate All three horns blow well, and it’s Vol. II of the Davis All-Stars uphold technique. J oner, has several solos and worth noting again how mature a the rugged creative pace they set in is his usual swingingly urbane self trombone voice is that of former Her­ the first one. This is jazz of a sturdy with individualized taste and humor. man sideman Rehak, who has been and lasting nature, jazz with heart Marshall is also excellent in both solo playing at the Metropole in New York and blood and sinews. and rhythm capacities, as is Klook. for several months. Frank can blow Milt, Percy, and Kenny were mem­ The percussion variations on Billie’s well in any style, has a fine sound, bers of the Modern Jazz quartet when Bounce are absorbing and point up and consistently interesting ideas. This this was cut, and along with Monk pro­ again the continuing importance of is one of the more successful Victor vide just about ideal companionship Klook to contemporary jazz. First-rate dates of the year. There is even an for Miles, who has long been listened recorded sound. The notes, in a master­ articulate set of notes thanks to George to and appreciated, yet has only in the piece of malapropism, state that there Simon. And there’s even a blues vocal last year or so achieved a level of is "nothing effectual here.” Actually, by expansive Osie Johnson. (Victor consistency that must mark him as one it all is. (Savoy 12” I.P MG-12015) 12” LPM-1116) of the great ones. He windt a happy trail through Bemsha, an intriguing Serge Chaloff Kenny Clarke Monk-Denzil Best original recorded Bob the Robin; Yesterday’s Garde- previously by Thelonious, as Milt Bohemia After Dark; Chasm; Billow swings deftly Percy stands out in the kuu; Sergiral: B hat’s New?; Mar-Dros; Weep for Me; Late Entry; Hear Me Jr.; Body and Soul; Kip; Diane’s rhythm section, and Monk chips in a Talkin’ to Ya; With Apologies to Oscar; typical solo. Melody; Unison We’ll Be Together Again Rating! A AA AA Man I Love has a quite wonderful Rating: WWAw Jackson introduction, a fragile, haunt­ Serge, for years one of music’s more Kenny’s personnel includes pianist ing first chorus by Davis that may re­ chaotic personalities, has made an Horace Silver, tenor-flutist Jerome mind you of Dizzy’s Can’t Get Started about face of late and is again flying Richardson, bassist Paul Chambers, solo, then up-tempo excursions by right. It is evident in his playing, altoist Julian (Cannonball) Adderley, everyone that are joyus voyages. Don’t which has lost the frantic, where-am-I- cornetist Nat Adderley, and trumpeter miss this one. (J. T.) (Prestige LP 200) going-next aspect it has contained for Donald Byrd. One number, Togeth­ the last few years, and has become a er Again, Hank Jones is in on thing of real beauty. piano. This LP introduces the work of Jon Eanlley No one ever has questioned his pro­ three young musicians who clearly Hey There; Sid’s Delight; If Yow ficiency on the baritone sax—just the have much to contribute to jazz. Ju­ Could See Me Now; Demanton way he chose to employ it. Here, with lian Adderley, already quite widely Rating: A-AA-A backing by fellow Bostonians Boots publicized, came from Florida in mid­ Jon, who first gained prominence as Mussulii, alto; , trum­ June to impress a number of New the man to replace Chet Baker in the pet; , piano; Everett Ev­ York musicians at Cafe Bohemia, get Gerry Mulligan quartet, makes his sec­ ans, bass, and Jimmy Zitano, drums, he on this session, and then win himelf ond appearance with his own group offers the best display of his talents an exclusive contract on EmArcy. He’s on records here, and lives up to the ever to be put on wax. It swings, it back home now fulfilling a teaching claim in ’s album notes, to has hi art, it has maturity—it is the contract, and will probably hit the road wit: long-awaited coalescence of a great with his own band in six months to a “The trumpet field, which had lain talent. year. His brother, Nat, was with Lio­ fallow for quite a time while the tenor

20 Down Beat