like Joe Anybody. Perhaps it all will work lethargic playing. Bait and Dolphin are at­ out eventually, but at this point one might tractive, if not stirring. : Refle, :iou; s; Snxikin" ask whether it is better to conform capably About the only grounds on which one or io remain an inferior "original.” can firmly recommend this disc is that it 1« New bora, I he answer is not easy to find, for there may lead some of the hippies to listen to arc the recordings to prove that Newborn Ravel, Debussy, and Stravinsky in the orig­ undei (he wasn't making it before and that he now inal. Those who know the originals are it is more "qualifies.” Perhaps his course is right for unlikely to derive much pleasure from it. is the had. him, but we might all be thankful that Italian Jazz (ompanied. Lester Young and Dizzy Gillespie and The­ lonious Monk refused to give in to similar H ILL FESTIVAL DELL JAZZ—Sanremo— lythm men. Verve MG V-2OOO7: Zoot; The King; Lullaby i a happier pressures, which would have left posterity for Trio; This Is Always; L'Amico del Giaguaro; ilJiÿSIC INN with only second-rate versions of Coleman Lover Man; Memories of You; Fino and Dandy; junkul his Ten Men Biowin'. tboioughlv Hawkins, Roy Eldridge, and Teddv Wilson. Personnel: (Track 1) Ernaldo Volonte, tenor; ve that has Newborn's discovery that prodigious tech- Sergio Fanni, ; Renato Angiolini, piano; Alceo Guatelli, base; Lionello Bionda. drum». lie "light” nit) ue alone does not a jazzman make put (Track 2) as above with addition of Glaueo Ma- resulted in him back to the starting line, but it did aetti, alto. (Track 3) Enrico Intra, piano; Ernesto not rule him out of the game. This rec­ Villa, bass; Pupo DeLuca, drums. (Tracks 4, 5) abel to off- Oscar Valdambrini, trumpet; Gianni Basso, tenor; big. square ord may be the lieginning of a rewarding Gianfranco Intra, piano: Berto Pisano, bass; Gil­ ja// career for him, although the spark of berto Cuppini, drums. Side Two (Track 1) Flavio •revin story Ambrosetti, alto; Piero Paganelli, piano; Jean individualism is yet to be apparent. Siebenthal, base; Bernard Peritz, drums. (Track 21 Paganelli, Siebenthal and Peritz. (Track 3) this is that Nunzio Rotondo, trumpet; Leo Cancellieri, piano; now sounds Four Sergio Biseo, base; Gilberto Cuppini, drums. g IMPRESSIONS—World Pacific 1266: Debus- (Track 4) Rotondo, trumpet; Peppe Cuccaro, »y: Maid with the Flaxen Hair, The Little Shep­ trumpet; Ennio Gabbi, ; Marcello Bo- herd; Stravinsky: Berceuse from Firebird Suite; schi, alto; Marco DelConte, tenor; Gino Marinacci, • • • • Ravel' Pavanne for a Dead Princess, Holtses Nos. baritone. Bill Smith, clarinet; Leo Cancellieri, 2, 3 from Vaises Nobles at Sentimentales; Green­ piano; Puulo Pee, bass; Cuppini, drums. sleeves; Baltimore Oriole; Mist; Green Dolphin Rating: ★ 4k Street; Good Bait. E • Personnel: Horn, flute, alto, clarinet; John Pi­ On Jan. 18 and 19 last year, the third sano, ; Gene Eatea, vibea; Lyle Ritz, baaa. annual Sanremo Jazz festival was held, with Rating: ♦ ♦ THE MOST ¡ting of * a dozen jazz groups presented in a program Rather than bringing classical concep­ that included the Modern Jazz Quartet; period. * tions to jazz, the Paul Horn Four here pulls Britain's Don Rendell sextet: an English IMPORTANT a switch: they take jazz instrumentation to singer, Beryl Bryden, and most of the ■ group of Impressionist compositions. The foremost modern jazz exponents in Italy. attempt is courageous but foolish. Men who This album presumably consists of the JAZZ RELEASE are not primarily classical musicians find best selections by Italians culled from the United • themselves in the position if competing two-day event. with experts and with an inadequate in­ It really is not quite fair of Verve to pit OF THE YEAR strumentation at that. the eclectic offerings of these musicians Judged as "classical” music (as it must against the big guns of jazz so readily avail­ be) Side 1 of this disc just doesn’t make it. able in the I nited States. For the most The revoicing of the music utterly dis­ part, the soloists strive to be carbon copies rupts most of it. Stravinsky, Ravel and of their obvious American idols. And the The Modem Jan Qaartet Debussy are among history's great masters rhythm sections are uncohesive, by and 52026) J of orchestration. Ravel and Debussy were large; they lack the unified feel of better At Mesic Inn Velame 2 12-300) , particularly adept at writing for piano. You Stateside teams. GUEST ARTIST: Sonny Rollins tamper with their sonorities at your own Some of the soloists, however, are impres­ « AAA AvaifaW* St**« ATLANTIC * HAadMvral ifi< e risk. I hus, when you hear Pisano stating sive. Pianist Enrico Intra shows authority ■ the opening line of the lovely and fragile and positiveness of keylxiard approach; Medlay: Stardust Nunzio Rotondo is a trumpeter of firm I Can’t Gat Started Maid with the Flaxen Hair, you are forced Lover Man immediately to compare the thin sound of conception of contemporary blowing and 2. Yardbird Suita 4) • his guitar with the piano sound of such carries a fine, fat (if a trifle overbrassy) 3. Midsdmmer tone to go with it. ■reocraft • i man as the late Walter Gieseking. And Festival Sketch when Pisano appreggiates chords meant to On the debit side, Masetti's alto playing 2. Bags Groove lie solid, yet very light, you may squirm. shows little subtlety and less imagination, 3. Night In Tunisia ’) • Stravinsky’s Berceuse is done the most and Cuppini's drumming behind the ade­ violence here. The Firebird Suite is scored quate piano of Cancel lieri on Fine and for an abnormally large orchestra, and the Dandy is downright corny. ' ‘he «J“"»« ‘ {i”t LP in about voicing on this record is not only indescrib­ The most ambitious number of the set •year-recorded "live” « the Music ably too weak, it is utterly inappropriate is the final Biowin’, a "tentette” endeavor as well. Vibes sound deadly wrong for the showcasing some fair ensemble work and ¡2 ’'T^^orSonny opening figure, and when Ritz produces on the solo playing of Rotondo (who penned ^“"^«--or-x. Our micro bass the wonderful delicate melody meant the piece) and baritone, alto, and clarinet Phone, caught him „he appeared M by Smith. Smith is an American who was for olx>e, the effect would be ludicrous if * "*'* with ’he Modern Jazz it were not so discomfitting. stndving in Italy at the time of the festival Qoartet on Night In Tunisia and and whose compositions have been recorded 1 he best "impressionism” on the disc is r°OVe Ane)‘c,Mng record that , Horn’s original, Mist, perhaps because he by Shelly Manne on the Contemporary youll want tn hear again and again had the specific sounds of instruments in label. He is heard here in a brief if un­ mind, as did the other composers. Mist spectacular solo, mostly in chalumeau reg­ picks up a jazz flavor at times, and it is ister. quite lovely, if derivative. This album has its interesting moments— mostly from the soloists mentioned — but Of the playing, it can be said that the simply cannot stand tip against the better •ad sferee dits Uafing. 2/113) • men sound less inhibited than does Benny jazz releases made by the home boys. Goodman playing Mozart. Side 2 opens with a nonjazz performance, J.J. Johnson the antique English song Greensleeves. In M SI BLUE TROMBONE—Columbia CL 1303: 157 West 57th Street, 25) • the standards, the group is quite good, on Hello, Young Lovers; Kev; What's New; Blue Trombone Parts 1 and 2; Gone With The Wind; the whole, though there are moments of 100 Proof. September 3, 1959 • 25