o ne. Tatum (Hank Jones) . . . Bass—Milt Giuffre is the first original clarinetist the bite of a bassoon into his baritone young Hinton (Leroy Vinnegar) . . . Guitar— in many years. and still keeps it a blowing sound; prom- Tai Farlow (Joe Puma, Dick Garcia) Despite the fine crop of promising Tony Scott’s subtone ballad sound in the . . . Drums—Max Roach, Osie Johnson new young pianists (Eddie Costa, haunts me; Leroy Vinnegar plays a which (Charles Persip) . . . Vibes—Milt Jack- Hamp Hawes, Pete Jolly, Mal Waldron, beautiful lower-register bass; Sal Sal­ s n (Don Elliott). etc.), Levy already has crystallized into vador gets a courtly guitar tone— joyed Male singer — Frank Sinatra (No a rounded jazzman. amplified, yet; Warne Marsh is the R..y choice) . . . Female singer—Ella Fitz­ Joe Morello and Jo Jones played more philosopher of the tenor—all he needs Sims, gerald (Beverly Kenney). drums than anybody I heard in the is a circle of disciples; Ed Thigpen No comments. last year. tunes his drums so they sing as well OUI g, A new star vote for Joe Turner may as swing; Beverly Kenney has a way to GEORGE T. SIMON appear ridiculous considering the years go, but freshness and felicitousness of stars (Long-time Critic and Jazz Authority) he’s been around, but he has to be in­ phrase mark her as the real thing, a Duke Band—Count Basie . . . Combo— cluded. worthy companion in her classification .ucky Modem Jazz quartet. Bass players almost impossible to for elegant Ella, and Bernard Peiffer is i for Trumpet—Joe Wilder (Thomas Jef­ select from, what with Mingus, Petti­ one of the best of an embarrassment of ; tie ferson) .. . Trombone—Jack Teagarden ford, Ray Brown, and others on the keyboard riches, a brilliant French pi- (No choice) . . . Alto sax—Bud Shank scene. But Red Mitchell must be heard anistic talent we should be proud to don't (Lennie Niehaus) . . . Tenor sax— to be believed. have among us. fill it Zoot Sims (Al Klink) . . . Baritone Most unhappy omissions: the Woody Lucy sax—Gerry Mulligan (No choice) . . . JOHN TYNAN Herman band, the Modern Jazz quartet, Most Clarinet—Tony Scott (Peanuts Hucko) (Jazz Reviewer, Down Bea/) and Jimmy Smith (the organist)—the ■ was . . . Piano—Bud Powell (Bengt Hall­ Band—Count Basie . . . Combo— last-named, the big boot of the year for rmer berg) . . . Bass—Trigger Alpert (Bill Modern Jazz quartet. me. Crow) . . . Guitar—Tai Farlow (Herb Trumpet — Dizzy Gillespie (Thad ERIK WIEDEMANN Ellis) . . . Drums—Eddie Shaughnessey Jones) . . Trombone—J.J. Johnson (Jazz Reviewer, Jan Monthly, England) (Chico Hamilton) . . . Vibes—Red (Bob Enevoldsen) . . . Alto sax— Norvo (No choice). Band—Count Basie . . . Combo—Max ibo— Benny Carter (Julian Adderly) . . . Roach and Clifford Brown, the Jazz Male singer—Frank Sinatra (Bobby- Tenor sax—Stan Getz (Bill Holman) Troup) . . . Female singer—Ella Fitz­ Messengers. iger- . . . Baritone sax—Harry Carney (Bill Trumpet—Roy Eldridge, Dizzy Gilles­ gerald (Lynn Taylor). Hood) . . . Clarinet—Tony Scott (Bud­ (No No comments. pie (Thad Jones) . . . Trombone— írtel­ dy Collette) . . . Piano—Art Tatum J.J. Johnson (Benny Powell) . . . Alto es ter ROBERT SYLVESTER (Hampton Hawes) . . . Bass—Oscar sax—Johnny Hodges, Lee Konitz (No ette) (Columnitt, New York Daily News) Pettiford (Paul Chambers) . . . Guitar choice) . . . Tenor sax—Lester Young —Barney Kessel (Jim Hall) . . . Drums (No Band—Count Basie . . . Combo— (Frank Foster) . . . Baritone sax— Iman —Kennv Clarke (Chico Hamilton) . . . Harry Carney (No choice) . . . Clari­ Modem Jazz quartet. Vibes—Milt Jackson (Larry Bunker). ilson Trumpet — Louis Armstrong (John net—No choice (No choice) . . . Piano rown Male singer — Louis Armstrong —Bud Powell (Herbie Nichols) . . . Windhurst) . . . Trombone — Tyree (Johnny Holliday) . . . Female singer— jddie Glenn (Bob Brookmeyer) . . . Alto Bass—Ray Brown, Charlie Mingus Ella Fitzgerald (Toni Harper). (Paul Chambers, Doug Watkins) . . . sax—Paul Desmond (Phil Woods) . . . No comments. ionel Tenor sax—Lester Young (No choice) Guitar—Barney Kessel, Jimmy Raney . . . Baritone sax—Gerry Mulligan (No choice) . . . Drums—Art Blakey, (No BARRY ULANOV Max Roach (Philly Joe Jones) . . . (Lars Gullin) . . . Clarinet—Benny (Jazz Critic. Author, Down Beat Columnist) Holi- Goodman (No choice) . . . Piano— Vibes—Milt Jackson (No choice). Band—Count Basie . . . Combo— Errol Garner (Dick Carey) . . . Bass Male singer—No choice (No choice) r the Lennie Tristano. . . . Female singer—No choice (No —Milt Hinton (Tommy Potter) . . . Trumpet — Roy Eldridge (Thad jazz, Guitar—Tai Farlow (Dick Garcia) . . . choice). Trombone—J.J. Johnson rk I Drums—Buddy Rich (Eddie Phyffe) Jones) . That this ballot, containing no fewer this (No choice) . . . Alto sax—Lee Konitz than five pre-1945 names and split votes . . . Vibes—Terry Gibbs (Joe Roland). (Lennie Niehaus) . . . Tenor sax—Les­ hese Male singer — No choice (Joe Wil­ in seven cases, should be seen as a ter Young (Warne Marsh) . . . Bari­ reflection of the point of view that the leid, liams) . . . Female singer—Ella Fitz­ dall, tone sax—No choice (Gil Melle) . . . actual jazz situation is a transitional gerald (Barbara Lea). Clarinet—John LaPorta (Tonv Scott) Vic No comments. one characterized bv diffuseness, hesi­ turn, . . . Piano—Lennie Tristano (Bernard tancy, and artistic inflation. With new nmy Peiffer) . . . Bass—Charlie Mingus musicians appearing every month and JACK TRACY (Leroy Vinnegar) . . ."Guitar—Barney scel- (Executive Editor, Down Bea/) innumerable LPs pouring out, yet al­ been Kessel (Sal Salvador) . . . Drums— most nothing of importance happening Joe Band—Count Basie . . . Combo— Kenny Clarke (Ed Thigpen) . . . Vibes musically, the emphasis is on quantity Modern Jazz quartet, Gerry Mulligan. —Milt Jackson (No choice). rather on quality. «ree Trumpet—Dizzy Gillespie (Thad Male singer — Joe Williams (No Unfortunately, the work of the mod­ □uld Jones) . . . Trombone—Bob Brookmeyer choice) . . . Female singer—Ella Fitz­ em pioneers has not vet been followed ddie (Benny Powell) . . . Alto sax—Lee gerald (Beverly Kenney). bv a classicism like the one in the late irist Konitz (Phil Woods) . . . Tenor sax— I’m pleased, as I look over the names ’30s, so it may be said that as yet but Zoot Sims (Sandy Mosse) . . . Baritone that have come to mind for the critics’ modem iazz has given the best of itself rood sax—Gerry Mulligan (Jimmy Giuffre) poll, to see that some of these musicians in its first years. 1945-47. It is par­ n. I . . . Clarinet—Jimmy Giuffre (Buddy- still claim my affections without a ticularly regrettable that so many of the Collette) . . . Piano—Art Tatum (Lou doubt, a demur, or the shadow of a today’s musicians prefer to take an I to Levy) . . . Bass—Red Mitchell (Paul competitor. Lennie. Lee, Lester. John easy refuge in neo-classicism (return r is Chambers, Wilbur Ware) . . . Guitar— LaPorta, Roy, Mingus, J .J.—that’s jazz to swing) or pastiches on European • is Tai Farlow (Dick Garcia) . . . Drums— as I understand it; not limited by music, instead of making their own ! Of Jo Jones, Joe Morello (Connie Kay) school-tie but considerably aided by contribution to the evolution of jazz. ved, . . . Vibes—Milt Jackson (Terry Pol­ native talent and a natural predisposi­ Though none of the new stars listed oice lard). tion to think six lines and a cadenzaful seem destined to end up in the “estab­ Male singer — Frank Sinatra (Joe of beats ahead of other people. As for lished” personnel, thev nevertheless Turner) . . . Female singer — Ella the others . . . may be considered valuable additions to Fitzgerald (Lurlean Hunter). This was Kenny Clarke’s year on the legions of jazz. In the more exclu­ By way of brief explanation: drums: steady, thoughtful, musicianlv- sive instrument categories, there do not to— I voted only for persons I have had And perhaps the same description would seem to be any names worthy of the a chance to hear in person since the fit Barney Kessel. Among the new stars title New Star. Finally, no clarinetists les- 1955 poll. I’ve voted for, some are a little shop­ and no vocalists are listed, as the J.J. Zoot Sims was remarkable on every worn, but that’s my colleagues’ fault, inclusion of these categories in a jazz X— hearing, with and without the beauti­ not theirs—they should have made it poll today is hardly justified by the nor ful group support of the Mulligan sex­ years ago. Or anyway last year or the artists they embrace. tet. year before. Thad is very close to the [No Sandy Mosse is a Chicagoan who is best trumpeter in the last decade; Len­ MARTIN T. WILLIAMS eott going to shock some people very soon. nie outswings any new alto man and (Jazz Reviewer, The Record Changer) Art So is Wilbur Ware. most old that I have heard; Gil gets Band—Dizzy Gillespie . . . Combo— teat Kugiist 8. 1956 29