micks, which ie refreshing these days. It's also good to hear the oldie, The Girl Friend, given such a rousing treatment, sparked by the horns of high "Fidelity Klein and Scobey. For an example of what could have happened throughout, play Sweet Lorraine, done by Scobey (Ed. Note • Harry Babasin, bassist in regulars and highlighted by neat piano. the big bands of Benny Goodman, Boyd (D.C.) Raeburn, and Woody Herman and the small groups of Bud Shank, Laurindo Other Releases . Almeida, and Charlie Parker, was exec­ B utive director for the now-defunct off Dizzy Gillespie: Concert in Paris Nocturne Records and producer of net (Roost 12* LP 2214) has the six num­ many outstanding jazz albums for Lib­ A bers of Roost 10* LP 414, Dizzy over erty Records. He now is cellist and th« Paris, plus three more. Tho time was leader of the Jazzpickers, at Holly­ baa 1953, and among those present are Joe wood’s Purple Onion.) wet Carroll, Lou Hackney, Al Jones, and By Harry Babasin S Bill Graham. No indication by Roost pen that it is a reissue . Art Tatum- “I CAN’T understand how they make recc Erroll Garner: Giants of the Piano such good records; they sure don’t wea (Roost 12” LP 2213) are from the sound like much in person.” Sta How often this is our feeling ' after Comet and Dial catalogs. The Tatum Harry Babasin the is from 1944 with Slam Stewart and hearing live a particular band we have F Tiny Grimes, poorly recorded but val­ grown to admire on records. The fre­ the uable nonetheless. Comet was the ori­ quency of this feeling, a principal rea­ as loud as a brass section, and, magi­ ginal label. The Garners are 1947 Dials. son for the decline in the popularity cally, a bass which remains well in Two are with Callender and Hal West. of bands, is greatly attributable to one the forefront of the band regardless The rest are solos. If you have the thing—“high fidelity” does not present of the loudness attained by the band. Jazztone 12* LP J-1203, Kings of tho the band with its natural sound. It has become the rule rather than The Keyboard, you have four of the five Time was when a “master,” the per­ the exception for the players to hear I. I Tatums (the Jazztone has The Man 1 fect recording, represented a perfect the tape played back before fully re­ I Love for Body and Soul) and seven performance of a piece of music in alizing the intent of an arrangement I Gamers, although not Don’t Worry the presence of recording equipment. How then can we expect a listening About Me and Love for Sale, which An observer-listener in the direct public to hear in a live performance I are in the Roost reissue. presence of the band would hear identi­ a sound based on such artificial in­ II Stan Getz: Groovin’ High (Modern cally the performance recorded by the equities? eoul 12” LMP 1202) and Way Out Wardell equipment. Such remains the case in Similar inequities in sound are pres­ troi (Modem 12* LMP 1204) represent a the majority of symphonic recordings, ent throughout all band recordings and It f cross section of 1948 Gene Norman Los where the tremendous advances in re­ have increased in practice since the arr Angeles Just Jazz concerts. It’s uneven, cording and record manufacturing mid-’40s at a rate strikingly similar don but there’s enough good blowing to equipments and techniques have height­ to the decreasing rate of public attend­ alto warrant investigation. Among the par­ ened, to ncar-perfect, the illusion of ance to live performances by bands. arr ticipants on Way Out Wardell are transporting the orchestra into the COINCIDENTALLY, during the same mlg Gamer, Callender, Irving Ashby, Vic listener’s parlor. period, demand for personal appear­ Dickenson, Barney Kessel, McGhee, In the pop recording field, however, ances by small groups, where record­ II Gray, Vido Musso, Arnold Ross, Jackie the advances in the industry have ing inequities are not so apparent, has woe rati been applied for a different and con­ swelled to an all-time high. In many Mills, Don Lamond, Benny Carter, and Wo siderably less realistic result. cases, small groups now are found st Ernie Royal. On Stan Getz: Groovin’ ban High, there are Getz, Gray, Sonny IN ADDITION TO being the great­ locations which formerly played only Criss, Charlie Shavers, Red Norvo. Nat est publicity source for bands, records big bands. sole Cole, Marmarosa, Oscar Moore, Mc­ have become a great source of revenue, The commonly bandied excuse that not Ghee, Shavers, Louie Bellson, Callender with recordists joining the leaders and present-day economics make the prob­ sta: . .. Woody Herman (Capitol 12” LP T arrangers in quest of the “new sound,” lem of supporting and transporting a 324) has all eight tracks from the fine long known to be the essential quality big band infeasible are groundless. 2. I 10* Classics in Jazz LP H324, plus Not for success with a band. Were the demand present, the money I Really the Blues, ThaVs Right, Music The recordist’s ability to intermix would be easily forthcoming. Many top to Dance To, and Lollybop. This is the completely and independently the vol­ entertainers, in high demand in the I 1948-50 Herd with such as Cohn, Cha- umes and tones of the varioius instru­ night club circuit, earn ample money solo loff, Getz, Sims, Rogers, Royal, Harris, ments has been utilized in this quest to support entourages which are often like Swope, Levy, Gibbs, Jackson, Lamond, to construct a "sound” in the control larger than would be necessary for vw Giuffre, Marowitz, Porcino, Pettiford, booth, and m the listener’s “hi-fi,” a big band. eha Manne, Candoli, McKenna, Mitchell, which bears little, if any, resemblance In recent years, several new bands mer Igoe, Mettome. Don’t miss it if you to the sound of the music at its source. have been started with heavily concen­ »ch haven’t the 10”. The mere fact that tapes thus pro­ trated record promotion. As the records duced can be faithfully reproduced have met with favorable public re­ through the pressing process has re­ sponse, demand for personal appear­ sulted in the blind acceptance of “high You ances has been built and tours have Name It fidelity” as the true and actual repro­ been started with bookings guarantee­ What is your favorite jazz rec­ duction of the live performance. ing financial success. ord? And why? But let’s examine this more closely IN EACH INSTANCE, these tours You can make $10 by telling us. and see what actually happens. have met with steadily diminishing re­ In 250 words or less, name the one At a recording session, the necessary turns, ultimately leading the bands to selection in your collection you “sound” was achieved by combining disband or, at best, work only part would give up with the most re­ four flutes with full eight-brass back­ time. luctance. Your choice is unlimited. grounds. On the tapes, the flutes were The basic negotiable product of s You may select a single 78-rpm heard clearly above the brass very ef­ successful band operation is its live recording, or an LP, or maybe just fectively although in the studio we appearance to that public which has one track from an LP. The discs couldn’t hear the flutes at all. been attracted by its records and its may be U.S. or foreign recordings, ANY ATTEMPT to perform this publicity. made at any time. “sound” to a live audience would be If the records correctly presage in The best letter received for each futile, yet it is possible that, through sound the performance of a band, the issue will be printed. No letters the records, a tremendous demand attending public will be satisfied, the may be returned, however. Send could be built for public appearance necessary following of fans is estab­ letters to Down Beat editorial de­ by the band. lished, and perhaps we will once again partment, 2001 Calumet, Chicago Most "sounds” are not so obviously hear, “Yeah, their records are good, 1«. false, but we often hear a saxophone but you just gotta hear them in per­ outblow an entire ensemble, a piano son.” Dowa Beal.