PRESTIGE of Carter and Webster

Rosohnos proficient (and here better or place his time now and then, the cilect can ganized) borrowings, with Previn’s modish be exciting. It seems to me that 5forrixon BLU1 S F glibness (he seems not to be swinging by B net felt that kind of freedom here from time to fttr I ft J the way), for the originality and strength time and in his exchange of fours with personnel : PRESTIGE of Carter and Webster. However, be warned Bari etto on Callin’ (with Foster and Bailey it, trombone piano; that despite Rowles, Kessel, Vinncgar, and sympathetically behind) climaxes things er msnsE mi Manne, even the better of the two rhythm cellently. (M.VVJ The titl THE EDDIE 'LOCKJAW DWiS COOKBOOi sections seems, collectively, a bit loggy monologue MTV somehow. Was it overloaded? (MAV.) Bob Graf sauter» tew orgm tharaiier: «• THE BOB GRAF SESSIONS -Delmar 4IH Lenni- Bn ¿NH «KsaMSM HUTE Street Of Dreams; Dear Old Stockholm; Melle 8-, Iain Donald-on Starlight; Alley Blues Jones shar BLUES WALK—Blue Note 1593: Blues Kalk; Personnel: (Side A, Track, 1 and 2) Graf » accompa Move; The Masqueradi h Over; Play Ray, tenor; Ron KuO leuur ind flute; Jimnn William Autumn Nocturne; Catlin’ All Cats. piuno, Bob Maisel, bass; Al St. James, drum fin’s blues (Side B, Tracks 3 and 4): Graf, - ’ Personnel Donaldson, alto; Herman Foster, tenor ; limai Shadi S< Williams, piano; Johnny Mixon, bass; AI Sl piano; ‘Peck’ Morrison, bass; Dave Bailey, drama; James, drums. ]ow coined Ray Barretto, contili. fore it clot In the fiercely competitive jazz album accent and In some respects this is the most interest market one wonders, in the first place enough to ing Donaldson recital I have heard; I hope why this lecord was released at all. The logue and that in those same respects it is significant. recording, taped on loc ation at West minster with each Of all the “followers” (i.e., imitators) of College, Fulton, Mo., Jan 11 and at St. them toget Bird, Donaldson has seemed the most ac Louis’ Peacock Alley, Feb. 3, 1958, is quite vampire” s ademic, not only in his approach t > Parker, THE “EDDIE LOCKJAW" DAVIS poor. I he supporting musician' are not ai The mo* but in his way of playing. He seemed to all up to Grafs jazz, level and the ex Jones and COOKBOOK PRLP 7141 have only the notes and the tuns down. Eddie Davis. Shirlev Scott. Jerome Richard Herman tenor man himself takes things with a kin pretty easy, too. inn. * A living, throbbing example of unadu! Parker's inflections of tone, his slurs, his especially) terated funk >n the most honorable basic tra Dreams dition ot booting jazz.” dynamics—indeed his very way of playing is all easy-flowing Graf who do not me John A. Tynan: Downbeat a note—were intrinsically a part of his ex blows with obvious Lester Young-Stan (,eu musicians^ pressive equipment. Many who have at overtones in a solo of taste and logit Priester’s s tempted to capture these things in their Stockholm is much too long and is decidedly date" stani imitations of him have ended up turning lacking in spirit. After the first few minutes Flanagan . the beautiful into the grotesque, but Lou it becomes a bore until Maisel’s pizzicato and. by go and bowed bass solo resurrects interest Donaldson sometimes did not attempt them Tunc Up) GREAT SCOTTI momentarily. An obviously fine technician at all. force bv That is the Donaldson to be heard here Maisel is lacking in authoritative jazz comes off expression on Callin’, a man who seems to have just Ow!, one stepped out of a practice room in a music Graf takes over with the rhythm section /where pe on Stella and the blues, taking opportunity school. A man who has technical compe ened his t tence. good time, but who plays Parker’s on the latter to quote extensively from the interpolate Book of Prez. He is quite capable oi mon style as if he had never heard Parker (or, Accomp; superior blowing than that in evidence for that matter, much jazz) but had learned (M.W.) it all from transcribed notation anil could here. (J.A.T.) play it back in his own sequence. Jonah Jono But another Donaldson seems to be 18TH CF JONAH JUMPS AGAIN- Capitol THIS: You Met M emerging on the other tracks. Jalousie; I’ll Always Be In love Bilk Yos; It Was: St a GREAT SCORI PRLP 7143 The Walk seems a rather odd concoction Pennies From Heaven; Ballin' The tack I'm It I’ve TolJ Shirley Scott at first. Some eastern labels have used the The Market For You; Any Time; From The Is- My Heart "Her sounds are original and her style re side; Tkey Cant Take That A tool from Mt Someone In laxed. She plays juzz organ as it -hould be gimmick of throwing a bunch of jazz play Sloaly Bui Surely, Poor Butterfly; No Fool Likt Sweet Geor played.” ers and R&B players together on records. An Old Fool; Similan. Personnel Bob Snead: Cleveland Call-Post Personnel: Jones, trumpet and vocal ton Traci lutes and r Here Donaldson’s solo even includes some 2); Humphrey Brannon, bass; John Brown, pian Raskin har George Foster, drams. Manne, drui of the little tricks that seem to have entered Rating: it it it current Rx-R playing via that odd solo on 1 his latest in the Jonah Jones series is. Another Yackety Yack These choruses do seem a once more, a generous serving of solid, un fatuousnes little forced and deliberate, but by the time pretentious trumpet playing with more than only feelii he has begun more complex improvising, a dash of bubbly good humor. and Mitcti Donaldson seems much less afraid of the The veteran hornman sings a vocal on Raskin ini "illegitimate” devices in tone and attack of I'll Always; otherwise it’s muted and open are proba jazz playing and seems to use them with trumpet throughout, backed by a good to keep tl GENE some individuality and with little contri rhythm section that runs the gamut from but only vance. His solo on Move has, in briefer AMMONS heavy afterbeat to shuffle rhythm (on Am tricky. form, the same advantage of structurally Time) . One doc B LUE passing from expressive R%B-ish simplicity Jones kids the pants off Ballin’, larding and Klee to jazz complexity. GENE his playing with phony corn. There’s a good ment', esp In almost every solo. Herman Foster soon piano interlude on this track. On Mowly something falls into block chords. It seems to me that he gets a strong Roy Eldridge sound, in and (he 1 if one is going to use them, he should make fact Little Jazz is never far awav from (M W.) these chords sing; if one wants to play very BLUE GENE PRLP 7146 Jonah’s playing. Butterfly, taken very slowly, percussive piano, there are other styles that Gena Ammon* is marked by Jonah’s hamming with smears \ new relenHc by the ever popular “nie work better. Foster’s rapid pounding of on the exotic Similau he gets a low down AND Tl Gene’s big tenor sound is well uugmmted by these chords reaches almost a kind of Warner Bro an all otar group that include»- Pepper Adams feeling going, almost growling in the mute Nice 4 « Pa and Idree- Sulieman. A ».w inging bluesy al parody on the up tempos of Callin’ and The formula hasn’t changed since his first Louisvi lie bum. Move, but his tremolo modifications of Lee ! ; Chin album and there's no reason to suppose it Wild; T hat Walk 12* High Fidelity Albums them on makes sense. should. After all, why spoil a good thing? Now : Yon $4 SA At Your dealer Or From Prester Records Words; Son There are times when the presence of a And Jonah's records are doubly good be hew Release* Available—Send For Free Catalog Personnel conga drum in a jazz group does make cause they bring the sound and feeling of hone; Eddie sense If the drummer does well and steady jazz to a mass market. If vou've got the ■sn, piano PRESTIGE RECORDS INC. ■nidentified. enough with the basic pulse so that the bass others, you might as well get this too. 203 S. Washington Ave., Bergenfield. N. J. player feels free to shade and slighth dis Althoug DOWN BEAT.

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