DOWN BEAT Juno 2, 1954 Jone t, (not all of which are included in Tonight is up-tempo and con­ to it. The band drives rather than Jimmy B thia LP). The unusual inatrumen- siderably more relaxed. Ferguson’s swings most of the time. In place (1); Al tation—for that time—waa akill- conception continues to leave me of the exultation of Basie’s band Babasin fully utilized by the arrangers to much less than a frantic fan, and and the richly subtle interplay of Don Lar provide new enaemble colorations though the technique is formidable, timbres in Duke’s unit, there m ford (1) and a unity of complexly-knit Bound the tone is edgy. Among the fine here a brittle tenseness. Only rarely be on Bt that haa influenced modern unlisted sidemen (any one of whom does the band function freely and Ind him, ever ainee. And with all the paper I’d rather have heard in the major soaringly as a unit (That the band All eig work, the aidea awing with a light­ solo role) are Bob Cooper, Herbie did have this quality on occasion fossional ness and criapnesa of attack that Harper, Bud Shank, Blob Gordon, can be heard in the Columbia two- there’s li will keep them alive for many and a rhythm section of Shelly volume set of airchecks from “live” tag. and years. Not everything worked out Manne, Russ Freeman, and Curtis dance dates). ntngemei perfectly at these sessions, but so Counce. The rhythm section is the On these particular sides, how­ of the ba large a percentage of the searching best thing on the record. (EmArcy ever, though the band is still often tacandesc Chet Baker ♦------—------— I Jimmy Blythe was a Chicago waa aucceaful that theae are among 16002) exciting to rehear, there is more and swir But Not for Me south side recitalist at rent parties the major hiatorical guidepoata in than a touch of the machine in its apecial n recorded jaxx. (Capitol IP H-459) Med Flory operation. The liner notes partly accordion and similar informal occasions. He evade this problem by talking of the insti was alao “something like a house **♦ * Straight Ahead ! esily man” at Paramount Records and, the history of “swing” as distinct jazz feli as a sideman, recorded with from that of jazz. It’s a tenuous ■ut of 1 EmArcy unveils a brightly swing­ distinction with some value if care­ the instn Jcdumy Dodds, Natty Dominique, Things Ain’t What They Used to ing new big band, headed by altoist fully defined. But in any case, the The ThriU Is Gosw Roy Palmer, assorted bluet sing­ Be S Leah far the Sira Listing Med Florey. Florey, former leader Goodman band appears more and ers, and other artiste for that label. Reflections in D of the Indiana university band, Suedish I Raking: A Afi# In giving Jimmy a collection unto Who KnusesP more to have been of value (and This is called Chet Baker Sings, received a B.A. in music from that immense value) for having intro­ Who Sies himself, Riverside has resurrected Prelude to a Kiss institution and later played in the and so he does very appealingly on four piano solos, two blues accom­ B Sharp Blues duced millions of people to a con­ all eight bands. In fact, Chet army air force band. He recently cept of dance music more directly FU Never paniments for Sodarisa Miller, and Passion Flower spent two years with Claude sounds like a younger brother of two ronros with the Dixie Four Janet and vigorously allied to jazz foun­ Jeri Southern, and should his gum Thornhill. Among the better known dations than had previously been Capitol (guitar, bass, and drums including Rating: instrumentalists assembled for this the case with popular bands But four side ailment (Down Beat, May 5) cur­ wood blocks). tail his playing career, ne might A relaxed, late-houn Hollywood recording (and not listed) are: Al the big band jazz history of the darinetis As the notes point out, Blythe recording aeaaion on which Duke Cohn, Hal McKusick, Doug Met- Stan’s ex well enter the lists against Mel was perhaps somewhat more time waa being made by Basie, Tonne and other subtle singers waa joined by baaaiat Wendell Mar­ tome, and a valuable rhythm sec­ Duke, Lunceford, and a few others. Bed Nor sophisticated musically than Yan­ shall and drummer Butch Ballard. tion composed of Johnny Williams, Kessel, B with jazz-felt phrasing and Claude cey, Davenport, and Pinetop, but Aa for Benny’s soloists, he had, Rains tone. His intonation is good, Duke reflectively re-examines four Ted Kotick, and Art Mardigan. of course, many superior jazzmen Frank Be to this ear, he was a far less in­ of his own (and by now every­ The elean, clear recording com­ and he has an admirable fed for dividually interesting soloist. The among his sidemen over the years the lyrical play of these excellent body else’a) standards. The four plements the equally clean, clear But on these eight aides, Benny notes lament the fact that he has new titles, according to the notes, section work and vigorously full songs. Chet ia accompanied by been neglected. It is historically himself is the only soloist of con­ Ruas Freeman, Carson Smith, and “are spontaneous, ad libbed com­ sound of the band. Rating would sistently superior merit. However valuable that this omission has positions by Ellington, created in be higher if the originals (Al Bob Neel. Freeman’s backgrounds been partly remedied hereby but the stature of his band holds up are superbly tasteful and Chet’s the privacy of the dimly lighted Cohn’s Fuz and Flory’s Ahead) through the passage of time, Ben- I doubt if much will be added to studio at the time this album waa were less routine in their thematic own taped backing for his voice on Blythe’s musical stature in the re­ ny’e owii Btatur aa n jazz preat h Thrill indicates a great potential recorded.” patterns and structure. Flory blows unshakable, and the rating ia main­ listening. Of the four, Reflections in D ia a convincingly, but I’d like to hear for his horn as accompanist for First six were made in 1925; the ly for him. (Victor I PT 3056) vocalists. compellingly meditative piece that more before assessing the quality last two in 1928. The usually tem­ deserves extension. Who Knows! of his conception, fuz has a well My only objection to the collec­ perate Orrin Keepnews says that tion is the same that I have for his is brightly angular and B Sharp executed trumpet solo (Mettome?) Chicago and Armour “can be stack­ Blues ia a set of good-humored but the tune’s main figure geta Fil Always Be in Love with You playing in general both on records ed up against just about anything I Know That You Know and in person. It’s almost all small- variations on a characteristic El­ pretty wearying. There’s excellent any other piano player ever did.” lington figure. Janet is an odd potential in this band. It deserves St. Louis Blues sealed, and while often very mov- And when you’ve stacked them up, Bannister Slide iug within its limited compass, A-B-A fragment with a alow, poig­ better material and more inventive what do you do then? Certainly nant middle aection acting aa a arranging. (EmArcy 16001) Love It Just Around the Comer there’s a lack of expressive range I’ll Never Be the Same and never, so far as I’ve heard, is not compare them, I trust. (River­ bridge between a caaual uptempo side RLP 1031) riff pattern and its repetition. The Benny Goodman Cherokee there any exultancy. The recording Music, Maestro, Please ia excellent; congratulations are song and the LP dwindle quietly Swingtime in the Rockies into the night without coming to Ratings dee Dick Bock and engineer Allan Sugarfoot Stomp A reissue of small combo Good­ Emig. It’s a pity Jeri, for one. any definitive end. It’s that kind Changes Moon Dreams of collection—one for the very man, vintage 1947. The able side­ doesn't get this caliber of careful Big John Speeiel men and the number of bands they recording^ attention. (Pacific Jan Fenus de Mile early morning houra thought it’ll Camel Hop Deception hold up musically under any light. Riffin' at the Hits appear on are: Ernie Felice (51; Godchild Marshall and Ballard are unobtru­ Red Norvo (2); Jess Stacy (8); Rocker sively right and the Duke, as usual, Life Coes to e Party plays a lot more piano than most Rating: kkkk Rouge people give him credit for. (Capitol SPOTLIGHT ON DRUMS Rating: WAfirA"# *IJ H-447) This is the most famous edition Not only has Capitol reissued of the Goodman band in some All Cod’s ChsBun Gat Rhythm four of the important Davis-Mulli­ Maynard Ferguson characteristic sides made between ART BLAKEY-SABU 1937 and 1939, a peak period in gan-Evans 1949 new directional *** The Way You Look Tonight a story in rhythm — experiments, but also ineluded in ★★★ Lonely Town the band’s career. Most of the re­ Louie is joined on his first Nor­ this LP are four others that have cords made during the same period drums and conga gran album by Ralph Martin (pi- A tightly muted Ferguson leads by Basie and Duke are as freshly never been released before. Three the way through a rather preten­ ai»), (guitar). Bob of them were cut in 1950—Gerry alive now as when first pressed. •NI 1424 Peterson (bass), and Don Elliott tiously arranged Lonely Town. It’s These Goodman sides are not. Mulligan’s Rocker, Miles Davis’ not a bad mood setter, however, if Massage From Keaya (mellophone, vibes, trumpet, and Deception, and an arrangement of It’s not only that most of the bongos). It’s difficult to rate the you want to get in that mood. The writing is stiffly dated, but the band Nothiag Ba» The Saal ’s Moon Dreams, the arrangement creates a controlled, set because, except for parts of last half of which is of unusually itself was often stiff and therefore, Both Sides 5 Stars—Dowa leaf Rhythm and Copaeetic, it’s all a mostly tense atmosphere (though unable to transcend the paper. The rich textural interest. The person­ the volume and tempo are moder­ series of drum solos. But Bellson nel on those three had Miles, J. J. section work is punchingly precise, 78 IBM <5 CENTS. PLUS TAX certainly can make extended percus- ate) that feels about to explode but there is almost no ease or flow Johnson, , Mulligan, in post-midnight screams. There is WRITE FOR COMPLETE CATALOG sion variations interesting. Aside John Lewis, Al McKibbon, Max from a rather awesome technique a pleasant pastorale woodwind LP, EP and It RPM Roach, John Barber (tuba), and exchange, by the way, while May­ with both feet as well as both Gunther Schuller (French horn). hands), Louit iia." a more adven­ nard rests up for the last chorus. The other new recording, Lewis’ But the connection of all of this to Ö AL'S RECORD MART turous concept of the diversified Rouge, was recorded in 1949 on tonal possibilities of percussion jazz m extremely peripheral. It Dsp» MO UHI the same date as IsraeL On that note PEN than most drummers. would make good background for 1544 Broadway session, Sandy Siegelstein was on 26, Michigan KIN I’d like, by the way, to hear more a documentary on psychotherapy, V French horn; Nelson Boyd, bass; though. HAI of Ralph Martin’s Pearl; it starts and Kenny Clarke, drums, with the SUIS NOTI LABIL—7BRPM UNLESS 747 UUINGTON AVI. • NSW YOM JI out intriguingly, and then the poly- rest of the personnel the same. The OTHIRWIM SPKIPIKD rhythms begin. If you’re a drum band changes on the Jeru/Godchild VIC DICKINSON student or, like myself, have a lay­ date were , trombone; 1400—Lion'» Dan/Tandarly ...... S0.I man’s enthusiasm for rhythmic 1401—Gutting Santimantal/ , French horn; Al Mallotona ...... 1 NEW PRESTIGE JAZZ conundrums, this is for you. (Nor- Haig, piano, and Joe Schulman, U* MG N-7) •IL MILL! bass. 1404—Gaart/Four Moon«...... I LP 141 MILES DAVIS QUARTET S3.W The four heard here for the first 1407—Mun/Sunml Concerto ...... I Jimmy Blythe time are just as absorbing as the 4020—LN of four Title« ebove plus Tune Up-Smooch-LlgM« Are Low-Mlle« Chicago Stomps October/Cyclotron/Venu»/Unde« Ahead-Blue Haze-Four-Thaf Ole Devil other results of these collabrationa Capricorn ...... J.1 Love— LP 171 TEDDY CHARLES N. D S3.W Mr. Freddie Blues ART BLAKIY FEATURING Ster MEADE MUSIC HOUSE MS—Thin Man/Mwa'» Vidua...... 1 Eye«-Nobody't Heert-RevetoHoe-Loupe SCIC W. HENDERSON ST. WYNTON KILLY l MT? IN SWEDEN S3.« SsstUiu Special CHICAGO 34, ILL IS7S—Where or Whea/Boni to Be Blue ...... I Invention • Dorn That Dream ■ Indien NSW I ATT WISA5SS Summer-Jumpin' For Jeno IMO—Crary He Call« Me/ How Saffi Side Stomp •INI NORMAN MKMNTS-E3.M lACli Summertime ...... I LP 141 TRIO #1 S3.« Tenderly-Cool B Careulng-World On Fait Dizzy Glllnpiu Big Band IMI—Hue Moon/Good-oya -I Free (FOoek Blues A String-Bird Watcher tt'i The Little Rating: «A Buddy DuFraneo Quarte« MILT JACKSON WITH G. Mulligan Quartal______thlng»-Nice Work-Surrey With The LOU DONALDSON Fringe O- Top-Thaf« All ~ OTHM NEW tte 1472-Whef« New/TehIH ...... B EP ¡3« TEDDY CHARLES N. D... S1« Wal Stan Kentoa Metterà World...... UIS IS7J—Bag'« Groove/Ullle . .8 Edging Out-Night In Tunltla ^7// Shorty Roger» courte the Count ...... HORACI SILV1R EP IMF MILES DAVIS SIM Wh» Inside Sauter-Hnegan ...... IMS—Thou Sweil/Selarl ...... J Coecepttoe-Paper Moon (Rollin») * Lighthotna Allrten Vol. 4...... 3.M EP IMS ZOOT SIMS ().... SI S* • Bob Scobey Fritco Band-GTJ-22 . 3.40 JAMIS MOODT Etti ANT RECORD' Tangerine-Zoo« Cai, • Chat Bakar Sing» ...... 3.0S 5S3—Troplcana/Fullar Bop Maa...... 8 EP 1347 GEORGE WALLINGTON. SI # Brubeck "Cellego of Pacific". .. 3 06 RED NORVO ■■ SM—Cuba/Moodamorpho«.« ...... B YOU SEE ADVERTISED Blue Bird-'Round About Midnite . Mila» Davi» (Capitot) 1.11 151-Tin Tin Daao/Oh Henry...... B EP 1344 SONNY STITT ALTO SAX S1.M Mastay Hall Vol». 1-2-3...... Each. 3.75 an 554—Work«hop/Mood » All Frenile .8 AVAILABLE FROM US Lha • Cherokee • Imagination - Can't Wim * Bud Shank with Rogan (Nocturna) 3.0S LNS004—Eight fitte« above on LP ... 1.» Georga Lewis (New Orleans)... 3.05 Red Norvo Trio LP We Be Friend« _ ¡111. FOFS. CLASSICS, C I I. fOLt. Ronits with Mulligan (LP-II) 3.05 LP 140 MODERN JAZZ QUARTET S3.BI «mints.«eligious esoterics Orows B Farmer in Sweden...... 3.75 FANTASY 3-12 La Ronde-Vendome-But Not For Me- Doc Evans Encera...... 3.05 1104—September Serenede/ AH The Thing» Yoe Are-Autumn In Lienal Hampton "Hot Mallate" 12* NY-Queee'i Fency-Delaunay'i Dllema- All p-opoid orders mailed 4.75 So Vary Pretty...... Parker Big Band 12'...... 4.75 Write For Cefafog 1507—Üooelle/Jeckle, My Little Cel Roae Of The Rio Grande • tad ko«d ed tree _ot chorg« * Indicete» tsconiny ISIS—Singing for You/Lovlng You... AVAILABLE AT YOUR DIAUR Free Poatoge ee nN ^kemevtlc ero IMS—EigM Miet above on LP .... If eel we veS bv mol. Sead aha# SI-00 dapettt an COD«. TWO BIG STORES of MO. FREI POSTAGE. NO COO. Wg Imvg gg gIiImmr gt^gf GF 32Je W r#nce*La Chicago ♦g gfgomiM gf^gfo gbíBgf S1 SIND FOR HUE CATALOG-7S-IP-I/ HtUM?ATAV?C PRIST1M INC.. 444 W SO Sf. NYC JJ7 Howard St EvoRtfon imtt «fSI.M •• all COO'S.