Raw Is»? of the Ballad Arrangements Themselves Lenge for Both Braff and the Fortun in the Basie Book
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ber, they tend to be adequate but trumpet and piano, thereby creating an unexciting as are, for that matter, most unusual rhythmic and inventive chal Raw is»? of the ballad arrangements themselves lenge for both Braff and the fortun in the Basie book. Another point with ately two-handed Larkins. The chal regard to the LP as a whole is that lenge is fully met by both. This is All jaws record» are reviewed by Nat both featured tenors, though they swing Braff’s best work on records so fai, Hentoff except those initialed by Jack vigorously, are not yet major soloists because he is freed of what sometimes Tracy. Rating «AAA* Excellent. #A#A conceptually, regardless of the tempo. in the past has been inadequate Very Good. ★** Good. *★ Fair, * Poor. For the rest, the band wails as usual. rhythmic accompaniment and parallel The recording balance could be better. horns that were less swinging and (Clef 12" LP-MG C-666) emotionally strong than his. Nat. Adderley- Larkins’ unique but unpretentious Porky; f Married an Angel; Big “E”; Milt Bemhart harmonic imagination and his subtle, Kuuin’t Bustin'; Ann Spring»; You sensitive swing make for a strangely 1 he Horns; Hooray for Hollywood; Better Go Note apt partnership with Ruby—strange What Is There to Say; Looking for a Rating: ★★A' because although both men follow rich Boy; Amor Flamengo; Southern Com ly individualistic approaches on these That’s Nat is the first album of hit fort; London in July; Tangerine; Lav numbers, they yet blend superbly from own for Julian (Cannonball) Adder ender; Hillside; It's All Right with Me; the perspective of the whole perform ley’s younger brother. His quintet in Sate Your Chops cludes Jerome Richardson on tenor ance. Braff, however, is the major jazz (and flute in Go Now) with a first Rating: A AAA figure of the two. These are among rate rhythm section of Kenny Clarke, Modern Brass is the title, and the Vanguard’s (or any other label’s) best Hank Jones, und Wendell Marshall. instrumentation comprises Bernhart’s mainstream sides in this or any other Since Savoy give- no composer credits trombone, two trumpets, french horn, year. (Vanguard IP», VRS-8019, 801 here, 1 can’t tell you who wrote what bass horn, tuba, guitar, bass, and 20) originals, but none are memorable— drums. There are some changes in per just riff-built lines for blowing. sonnel on the three sessions that made Buck Clayton the album, but among those on hand Of the two hornmen, Adderley is the Rock-a-Bye Basie; Jumpin at the are Red Mitchell, Irv Kluger, guitar more interesting conceptionally, though Woodside; Blue and Sentimental; ist Jack Marshall, Irv Cottier, Roger he has some distance to go and exper Broadway ience to gain before he can be compared Milton, Ray Linn, Pete Candoli, John with more important “newcomers” like Graas, Maynard Ferguson (euphoni Rating: Brown, Farmer, and Thad Jones. Rich um), Ray Siegel, und Paul Sarmento. This is another of the large, long, ardson's tenor is rhythmically sound, The arrangements arc by Pete Candoli, and always swinging Clayton-led jam snd his tone is big, but there’s not too Jimmy Giuffre, Wes Hensel, Andre sessions held on occasion in Columbia’s much individuality as yet of style and Previn, Shorty Rogers, and Pete Rug studios on 30th St. George Avakian ideas. His flute work is pleasant. The olo. Giuffre wrote two originals, as did has again most helpfully supplied a rating is also lowered because the lines Candoli, while Amor is by Laurindo complete schedule of choruses— a pro of the “originals” are far too routine. Almeida. Some of the writing is slick cedure, I repeat again, that should be Best soloist on the date is Hank Jones. but much of it is colorful (though often mandatory on all jazz LPs with fair This is another example of an whole surfacely). All in all, the set contains sized groups. (Avakian’s is inaccurate LP being given to a leader who is not a relatively wide range of emotions, here on Broadway, omitting the Clay yet ready for it, and the recording but few go very deep. ton contribution before Waslohn.) Per director is also to blame for allowing What really makes the album worth sonnels alter on the various sides, but so much unchallenging material to be hearing is the excellent musicianship among those present are Ruby Braff, used. (Savoy 12" LP MG-12021) of all the players and the wonderfully Buddy Tate, Buck Clayton, Coleman sunny-to-somber play of sonorities a Hawkins, Bennie Green, Joe Newman, Count Basie brass ensemble provides. (Only some Urbie Green, Woody Herman, Lem part of the potential of that play is Davis, Charlie Fowlkes, Al Cohn, Jo Blues Backstage; Dawn for the Jones, Billy Kyle, Freddie Greene, Count; Eventide; Ain’t Misbehavin’; realized here.) The enthusiastic, gutty horn of Bernhart is featured all the Steve Jordon, Walter Page, Milt Hin Perdido; Ska-di-die-dee-dee-doo; Two ton, and the lesser known pianist Al Franks; Rails way. Milt is one of the warmest of the coast musicians and he helps most to Waslohn (a Jimmy Dorsey alumnus Rating: A’A'AA fire the album. Red Mitchell is also whom Buck Clayton had heard in Col This one is titled Basie, and is a a gas. There ought to be a sequel to umbus, Ohio) and trombonist Dicky further record of the hardest swinging this that would give more scope to Harris (a member of the Arnett Cobb big band in jazz, though it’s not en thoughtful jazz original; for brass en band). tirely representative of the band in its semble and omit the standards and the There's even a tap dancer, Jack Ack best form. Among the soloists are glossy writing for rhetorical effects. erman, on Basic. Ackerman is no Baby Frank Foster, Benny Powell, Joe New (Victor 12" LPM-U23) Lawrence, but he presents a mildly in man, Henry Coker, Charlie Fowlkes, teresting rhythmic contrast to the Frank Wess, and Thad Jones. Foster Kuby Braff-Ellis Larkins musicians. If Avakian wanted a jazz wrote the first two; the third is by dancer, why didn’t he get Baby, the Doggett (Bill?); Neal Hefti did the Vol. I best of all? An oddity on the date is sixth and seventh; and the eighth is Love for Sale; “ve Got a Pocketful that Avakian spliced a final take of the by Dizzy Gillespie and Buster Harding. of Dreams; Blues for Ruby; I’ve Got fast-driving Woodside from four sec Reason for less than the full five is the World on n String; Please; Old tions. two each from two entirely dif that two of the numbers are ballad Folks ferent sessions (and even % different vehicles (Fowlkes in Eventide and Ratin* AAAAA rhythm sections). I’m not sure I ap Foster in a slow Ain’t Misbehavin’) and prove of the principle involved, but it ballads are not this band’s strong point. Vol. 2 worked out well here and I wouldn’t The band doe» have a few soloists— Blues for Ellis; A City Called Heaven; bet that I’d have known the difference notably Thad Jones, Joe Newman, if Avakian hadn’t told the truth in his Benny Powell, and Henry Coker—who What Is There to Say; Sailboat in the Moonlight; When a Woman Lores a notes. There are several high spots all can handle ballads with fresh, orig through the set, and much lusty blow Man; You Are Too Beautiful; Skylark inal conception. But Fowlkes und Fos ing. There are more than enough kicks ter, while competent soloists, are not Rating: AAAAA to warrant adding this to your library. outstandingly imaginative and when This collection is called 2 Part In Good record sound and such a corny given all the solo space on a slow num- ventions in Jazz and involves only cover. (Columbia 12" LP CL 701) 20 Down Brat.