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Introducing Man Or Billy May Trumpet Section, but 1G CHICO HAMILTON QUINTET This Simply Isn’T the Type of Recorded Surrounding for Him

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Introducing Man Or Billy May Trumpet Section, but 1G CHICO HAMILTON QUINTET This Simply Isn’T the Type of Recorded Surrounding for Him Hodges-like alto. This and three others are quintet sides, four more are done by big band, four with strings. It almost got one more star because of the times 1 have been chilled by hearing Gozzo spur on a Woody Her­ Introducing man or Billy May trumpet section, but 1g CHICO HAMILTON QUINTET this simply isn’t the type of recorded surrounding for him. (J. T.) (RCA FZATURING BUDDY COLLETTE Victor 12" I P LPM-1124) PACIFIC JAZZ RECORDS ir p/ i.^ jt*» r fp, w i Pt s. r<j Chico Hamilton t Nice Dayj hinny Valentine; Blue Sanda; The Sage; The Morning After; I II ant to Be Happy; Spectacular; Free Form; Walking Faraón Bluet; Buddy Boo Rating: Chico Hamilton's new quintet is re­ sponsible for one of the most stimu­ lating, consistently inventive and unique jazz recordings of this or any recent year. There is, first of all, superb mu­ sicianship on the part of Buddy Col­ -Fl lette, flute, clarinet, tenor and alto; Jim Hall, guitar; Fred Katz, cello; n fa- Carson Smith, bass, and Hamilton, great drums. There is also the fresh writing .G.” by all five. As Katz points out in the :hest, notes, . each one writes with feel- >P by ing. Each original composition has :d in warmth, has meaning, has a reason for being; it’s not just u series of clever chords or clever ideas.” The third quality of excellence evi­ dent here is the collective emotional empathy of the quintet. This is really a unit, and while each of the men in it expresses his own individuality eloqueiftly, they reach their total ful­ fillment in the cohesive, partly impro­ visational interplay that is so vitally basic to the best jazz. There’s a lot more — the excellent November 30, 1955 beat, the scope of the group, the dis­ Dear Nat: covery of Hall and Katz, and ¿he newly impressive impact of Collette and Smith (Hamilton has always been firstrate «ve star revle, or our ne" ” “UCh f°r ,he so long as I can remember). Excellent recorded sound. Second side was cut LP *“3505, and ror savino" *. at the Strollers club in Long Beach, album- you've heard from th/ 'th° ”°St e«“ln8 Calif. Only clinker are the notes on the individual numbers by Fran Kelley, years you've been revlewln. C'°St ln th' written in her inimitable prose, a cross «viewing records for th» o between science fiction and theosophy. again, «a, or U1® Beat. (Pacific Jara 12" LP P J-1209) Yeel good. ’ ttrtalnly made us Lionel Hampton Pig Fara and Rice; Flying Home; Midnight Sun; The Blue» ^in’t New» to The very best, Me; Swinging on C; Baby Don’t Love Me No More; Air Mail Special; It’» « Blue World; A Song of the Vineyard; Nat Hentoff Shalom-Shalom Hampton Hawes Down Beat Rating: We* York, N.Y, Recorded in August, 1955, these Hampton big band sides are better than Columbia’s recently and unfortunately released Wailin’ at the Trianon in that the band is somewhat more cohesive collectively and the solos are fewer RECORDS Largest Stock of Jazz Record» In the world. ABE MOST and less exhibitionistic. But this is We carry all records on all speeds. BLOWS CLARINET still inferior music. Except for Hamp­ Everything Brand New—Factory Fresh—Fully Guaranteed—Send for Free LP and/or 45 ton, there is no regular band soloist of catalogs. Send For Free Weekly Jazz Bul­ ON LYLE MURPHY S NEW distinction, at least not one that gets letins. Ask tor details oi our jazz Record Club RECORD Cm any space. CONTEMPORARY C3S06 trn Rreadway New York 3S. N. T. It’s true, of course, that the band has i Beat Det-ember 14, 1955.
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