G. I. Wins Songwriting Contest Tune Set For Record Pacts Chicago — Glenn Vandall, a GI at Fort Bliss, Texas, has Vol. 21—No. 24 Chicago, December I, 1954 been named the winner in Down Beat’s 1954 songwrit ing contest His song, Hold on to Your Htarf, thus will be published by Broadcast Music, Inc., and re corded by Ralph Marterie’s orches- tra on Men Records a» well Eckstine-Lee Concerts as on Label by the artist to whom thi tune is issigned. Vandall also will receive a Kel ton Cambridge model high fidelity set for submitting the winning en New York—The Billy Eckstine-Peggy Lee-Pete Rugolu con- try. Second and third-place winners erl package collapsed Oct 30, just halfway through its pro also will receive Kelton sets. In acted month’s tour, providing the first tangible evidence that second place was Sheldon Munn of the concert package business, as had been suspected in trade Piqua, Ohio, with When Summer’s ¡«circles, may have passed the satur-4------Gone, and third was Charlie P. Lyle of Huntsville, Ala., with Sum mer Love. or business and bad luck (start- Welk Launches Of the 15 songs that did not win, r with hurricane Hazel, which one will be recorded by Moonlight canceled the first night) the unit, NEWEST ADDITION to Mercury’« recording »table is Buddy Morrow, Mu-c, one by Windy City Music, which had been conceived und whom* band now it waxing for that label. With the trombonist here is and one hy Starlight Music. These results will be announced as soon booked by Cress Courtney, folded Ralph Marterie, whose Mercury ork will record the winning tune in Down as the firms make their choices. , n in Des Moines. Other bookings Beat’» songwriting contest (see accompanying story). I Vere being hastily arranged for the Leeds Music aisc is interested in Hollywood — Lawrence Welk is publishing one of the songs and tots separately at presstime, with putting up or lining up $5,000 Peggy Lee returning east to ap- will make its decision shortly. worth of prizes in a nationwide Two of the top 16 songs were at the Rustic Cabin. Some 14 contest for young musica ns and hookings for the concert unit were submitted by one pair uf collabora singers. e lied off. Buddy Rich Drops Band tors—Haivey Siders and Tony Other indications that all is not Fii st prize winner will get a trip Eiia of Mattapan, Mass. »•ell on the concert front have been to Hollywood, $500 cash, a record All judges spent considerable I rand in the disappointing business session for Coral with the Welk time studying the songs before ling done by the Ellington-Bru- orchestra, and an opportunity to Plans To Join Dorseys picking the winners. One of them •ck Mulligan-Getz combine and open the “magic doorway to suc voiced the attitude of the entire te Mambo USA teain. Even Stan cess” in Hollywood film, radio, and Hollywood—The unpredictable Buddy Rich has changed board when he said. “Though most of the melodies were very good, the enton’s package has been less television studios. Other prises in his plans about breaking out with a new band of his own, van uniformly successful. The clude professional style tape re lyrics were uniformly poor.” corders. which was to be financed and backed by comedian Jerry
A very exciting variation of the Rumba is now very popular— S. Draw left up to right. the Mambo. The Mambo is to Rumba what Jitterbug or Swing 6. Step buck with right foot, is to Fox Trot Mabley Offers Back-Pat accenting w .th right foot. After mastering the Mambo steps forward and backward, com New bine them and practice bitumi ToSteve Allen,Garroway enthub By JACK MABLEY THF. MAMBO ICRS but dit A certair injustice is done to broadcasting by the denuncia To turn, simply repeal the above, but as you step forward and ing by t tions of over-all programming which are standard operating backward, turn to left on the first of every three counts. (Keea mt- is th procedure in columns such as this. turning to left only .) inambo, Every network and most radio and television stations set Pradc recently 1 Step dnectly forward on —classical music, discussions, public service things. You’ll find the breakini symphony broadcasts and project» such ns CBS’ Adventure tucked away orf-Astc in the schedules. Thu momentary elevation of net- 2 Druw right foot up to lelt elusive work taste can be attributed to 1, conscience; 2, Victor, FCC regulations, and 3, something to talk about 3. Step forward with left, ac lined u. when pests like myself begin squawking about lousy centing w uh left foot South A programs. Towa We’re certainly ready to give credit where it is Astoria due. We’ve long ago given up hoping to hear jazz born p treati?d with any sense oi respect on the air, so wt flanked feel rewarded just to hear gimmickkss music, and ducted an occasional touch of good populai music the can Steve Allen lets some trickle into his Tonight show thentic on NBC. This show i at around midnight. If you’re har he< a musician, you’re probably working or if you’re a since V 9 to 5 fellow, you’re probably asleep and miss it. playing But for home player«, wealthy playboys, bunts, and TV critic«, Tonight come» ul an ideal time. Lionel diestras fire into the pro —"ding» one night I caught it, and writing. ippear. Note that Step I is done slowly; 2 and 3 are taken quickly. This believe I also got a glimpse of one Lou MeGarit*. a man who -cem» to is the standard Arthur .Murray way oi counting the Rumba or After you have thoroughly mastered thi Basil Mambo step, try After lune ae much fun on the trombone as Hampton doe« on thr' vibes. This ui«»mbr ia a feat which ha* endeared Lou to me since hi* days with Benny Good Mambo. releasing your partner in the Mambo Break, illustrated above portant man, for the trombone is not un instrument to bring out the jollity in a man. He plays it so well, and I've waited 14 year« for a chance to «ay *o publicly. Dave Garroway has air excellent radio show on the network Sunday nights, but I doubt if anybody but motorists and Montana sheep ranch ers ever hear it, for certainly early Sunday evening is television time. Anyway, Dat e is one of the few top performers in broadcasting who What The Heck Is The Mambo? has a real feeling for jazz and isn’t afraid to acknowledge it in the air. Sooner or latei he has the giants of jazz at hrs mike, with good, By Mrs. Arthur Murray dance a conventional looking mambo retaining > solid interviews, and samples of their art via records. typical, closed, partnership dancing position. But I think it was on one of Garrcway’s disc jockey shows I first heard Mambo is rhumba—with a jitterbug ac this takes restraint! Most good dancers add break Louis Armstrong tell about fetching water from the creek and en- cent. It’s the newest of all ballroom dances, away steps—which mean- that they break away New cour.tering a crocodile. and I And it to be the most fun of all to do. ind separate from each other They then dance sola has lei Perhaps there are mure or better «how» on the networks. Ur don't No one was really the originator of the dance called facing each other and using various steps and spins. curity know. The network publicity departments either haven't discovered this mambo. The steps are the result of the way good Good mambo dancers are most exciting to watch. film si department or ju-i don't care. U hichevcr. we get no aid and assistance dancers interpret the newer forms of popular rhumba At present, mambo darning is seen in Ameria the con from the nets, and have Io struggle along discovering program» just like music. For the last few years, almost all rhumba only in the biggest cities. The one exception is Miami heading any other voter. It is a condition wc enjoy. What thi- business needs is music has been undergoing a gradual change. A new Beach. That resort town has more rhumba dancing an era more radio and television columns written without assistance from pres» syncopation has crept into the rhythm, and it is to the square inch than Havana does. During th while (i agents. this syncopated beat that has resulted in what is past winter reason, a straight definite rhumba wai vigor, ii Meanwhile, try Garroway and Allen. And if anybody know? any other called mambo. aidant played or danced it waa mambo over Miami. restmen network show- that treat popular music humanely, we’d like to know Mambc is performed by dancers according to their Mambo brings Latin America and America eve capital. about them. Not to write about. Just to listen. individual temperament, and it is quite possible to closer. But it’s not hands across the sea—it’s feet! But t when st become, in fact, that almost all aren’t . working musicians these days —of whatever American origin—haw thini to have a degree of familiarity with Latin Grtaf tritai* Registered Trademark Me. 719 407 New York—Heard in the cor rhythmic a band. patterns. Almost all night elute VOL 21. NO 24 DECEMBER I. 1954 ridor during Audi" Fair: “Well, Pete, this visit ha» clarified one point and dance halls require the bands Rufe shad biwookfy by Dowa Beat, Inc. In Latin Dance Line Stan K< for me—the definition of high they book to have at least some By NAT HENTOFF Stan in Executive end •ublication Ofbcc fidelity. Hi-fi loud. Pan-Americana in their repertoire. busy ac 2001 Calumet Ave. New York—Ever since Rudolph Valentino undulatingly As for records, there’s been harmon Chicago 16. 111. danced the tango in his films of the early ’20s, the music of nothing quite like the rush to re after, F Norman Weiser PrMnber This is the year, for example, that cord mambo by leading pop as well Capitol Jed Tracy, Editor Latin America has markedly influenced North American Mambo USA with a cast of 40 is a- Latin American artists since the Clare Rowen, Anaciate Editor dancing and Kiening tastes. But never has our interest in rocking the >>ne-niter circuit on u first discovery of the money -magic Loo Zabelin, Etecetire Ant. the rhythms of Latin America been------tour covering 56 cities—which is n of the echo chamber. To cite a few Free! Charles Suber. Directo' Mrerthmg i a- enthusiastically widespread as took hold litre. The latest mid most greatly expanded version of last examples: Vaughn Monroe’s Tht} coast f Solei it is now with the country on a emphatically successful is, of season’s initial caravan of travel Were Doing tin Mambo (Victor); varied J. C. Edwards. Advertising collective mambo kick. course, Perez Prado. ing mambo artists (The Mambo Perry Como’s Papa Loves Mamie Martin, Car Burlingame Circulation 6 As for that opening tango, al “We had another craze during Rhumba Festival). The hooking (Victor); ind currently Rosemary Hutton, Proeeotioe Mgr. though interest in that dipping the '30s—the conga. It seemed for office» meanwhile repoit a heavy Clooney’s Mambo Italiano (Coluw Chnsty dance at hotels and clubs has been a while that every night club and upsurge in the demand for Latin b ii); Les Brown’s St. Louo Bhu al! the NEW YORK OFFICE rather dormant in recent years hotel had u conga line with every American band» and acts with the Mambo (Coral); Richard Maltby's Rugolu 122 East 42nd St. (especially during the current one yelling: ‘One! Tw-o! Three! emphrsis these days, of course, un St. Louis Blues Mambo (Label signed Naw York 17, N.Y. mambc ¡urge), there is still a de Kick!’ Interest in the conga b«-- any act with “mambo” in its bill- “X”); Sheb Wooley’s HillbiUi night c Oxford 7-2160 mand for it in the dancing studios. gan, as I recall, around 1933, and Ma mb« (MGM) Betty Reilly the Chi Nat Hantoff. AnocMe Editor But the dance that followed the was at its peak for about another Leonard Green, president of Let’s Mambo (Capitol), Georgia Keefe Mal Mandel. Adrertitirg tango in its impact on the Ameri two years. Mercury Artists Corp., the largest Gibbs’ Mambo Baby (Mercury), mentior Hannah AHbvth, Editorial can populace—the rhumba—is still booking agency for Lutin American and Sophie Tucker’s Middle Af And i widely popular among dance en- Then Thr Sum bn artists the country, recently Mambc (Mercury). film sec WEST COAST OFFICE ihusi.its, though even the rhumba “After the conga died down,” added three more booking agents include* 6124 Santa Monica B'vd has of late had to yield somewhat continued Diaz, “the rhumba atill to his mambo department. Given Mommy. Too Latin L HO 3-6005 to the mambo brigade. * continued, nnd then came the sam- points out that the mambo demand to Loi Climaxing th» record industry's Charlei Emgv Manager ‘Vendor’ bu iiflux ar und 1948. is countrywide in scope and snows Everytl Stan Hoffman, Mr. “Now to tht mambo. We at Vic confirmatory contracts from the infatuation with the mambo are Champi The rhumba broke into tor started -eleasing mambo re Palladium ballroom an.l the Cha Sonny Burke’s Longhair Mamh self
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1, 1954 December 1, 1954 DOWN BEAT with the Five Pennies and other | The Hollywood Beat Golden Era recording combos, and ed later as accompanist for Bing Crosby and Ruth Etting, was re sponsible, more than any other one pOWH e man, for the switch in which the mer, ex- Kirk Douglas Looks For guitar supplanted the banjo in the TïrnW W sr Broe, modern dance band. •ace ha* It Happened Fast lineersly ing writ- Banjos To Make Return It happened pretty fast, too; be tween 1929 ana 1931. Banjo play By HAL HOLLY is taken ers with talent and musical ambi popular Hollywood—Something .serious, or very funny, according tion took up the guitar. Others re tired, and some of these achieved to how you feel about it, could happen as a result of Kirk distinction in other fields. Among 1 the au- Douglas’ appearance as a banjo player in that band of more those who come to mind: ly of the or less musical movie stars assembled by Jack Benny for his Dick Powell, who though he now rad. But recent television show. Dealers and plays, or plays around with, sever 'lack and teachers here say there has been a or society here for former banjo al other instruments, was more of i level af ■big upswing in popularity of the players and friends who want to a banjo player than anything else nee wu banjo and that if manufacturers join me in learning to play the in- in that day; Zeno Klinker (his get behind the trend with a propa strument. REAL name), for yean head writ ents due ganda campaign, the banjo could “After all, like jazz, the banjo is er for Edgar Bergen and recalled (he wsi make a major comeback. strictly 100 per cent American in hereabouts as a banjo player who for Wen- Douglas is willing and eager to origin. It’s the only musical instru wrote and sold comic greeting cards leave to accept full responsibility if some ment of which that can be said.” aa a sideline; actor Lew Ayen, who the baby thing of this kind happens. Banjo Background was playing banjo with the late technical Lead* Campaign For the benefit of our younger Ray West here whep he was picked and Cat In fact, he admitted that he is readers a bit of banjo background: for the lead in the film All Quiet dy of the doing his best to spearhead the Up to about 1931, the banjo, not on the Western Front; Nat James, ong other campaign to return the instrument the guitar, was the standard in president of the Screen Publicists gent per- to what he called “its rightful place strument in all dance orchestras, Guild, who worked in the '20s with let Rag; in American music.” Kirk’s com even the hotel and "society bands’’ many bands around Chicago, and ent play- ment: of the period. jazz authority Nesuhi Ertegun, an md in tne "I’m thinking of forming a club Thé late Eddie Lang, as soloist amateur banjoist. ough the One thing the banj-> has over the tatement* guitar is volume. It can be heard itin Jack- in the biggest of ballrooms without iton role), amplification. Even the amplified casionally guitar can’t equal it for the kind d largely of sharp, well-defined rhythm that Joe Adam* and Dorothy Dandridge in Carmen Jones. •k by the dancers like. iey>. So between the efforts of Douglas ■as all too and current attempts to get bands Films In Review dance bo to play with “that good old dance le of the beat,” watch out—banjos could bust e soloist*; out all over. pnation in very writ- STUDIO NOTES: Uberace now Music Names Score Film at used to makes a movie, as star of a War n concert ner Bros, opus entitled Sincerely this is * Yours (from the title of his top- that many selling album) .. . Latest rumor— Triumph In Carmen Jones ays prefer but only that at this writing— showman- mentions Tony Curtis for the title Carmen Jones (Dorothy Dandridge, Harry Belafonte, Olga Jame*, invention. role in The Benny Goodman Story Joe Adam*. Pearl Bailey. Vocal* for Mia* Dandridge and Mi** Jame* by . . . One of our correspondents re Marilynn Home; for Belafonte, by Laverne Hutcherson; for Adam*, by quests information regarding the Marvin Haye*). “backgroan” music of a certain pic ture. Was he- misspellingT . . . Hollywood—Much has happened to the racial climate in Someone writes with concern that the 10 years since Carmen Jones, the stage production in notes in the Dragnet theme are the same as those in the opening theme which the principal characters and story from the opera for The Killers, Burt Lancaster Carmen were recreated in a Catfish Row atmosphere and as starrer now in reissue. So what? Catfish Row-type Negroes, was a^ Same combination of notes is prin smash hit in tne theater. associated with the film. It can cipal theme in Schubert’s Unfin In the film version, an effort has and will be argued that some of ished Symphony . . . Many movie been made to bring the script up the operatic arias (the original men have eyes on Louis Arm to date—somewhat—by putting the Bizet melodies with lyrics by Oscar strong’s recently published autobi protagonists in an Old South back Hammerstein II) merely impede ography. We predict a biofilm from ground at the start of the story, the story-telling. The same critics it before end of 1955. which finds Carmen aa an employe can argue, and with some reason, of a parachute factory and Joe as that it would have been a better a corporal in a 100 percent segre screen drama without its operatic ¡WHERE TO G gated army regiment seemingly airs. But without its operatic pat I for Maino, Booetag, Muele guarding the plant. tern it would not have been Carmen On the eve of his marriage to Jones. Cindy Lou, and departure for of In his adaptations of Bizet’s mu ficers training school, Joe is or sic, Herschel Gilbert and his ar JAZZ CONCCRTS dered to escort restless, rowdy rangers have freshened the original Carmen by jeep to a nearby town score without injecting any phoney SY and turn her over to the civil au “modern” touches. In spots, ths HOWARD RUMSEY'S thorities. As in the opera, it is Bizet of Carmen Jones is more UMTHOUU ALL-STARS Carmen who takes the young sol French (his nationality) than he THI LIGHTHOUSE dier for ride; then, as he faces was Spanish in the original. arrest and disgrace as a deserter, All of the principals in Carmen she tosses him aside for well- Jones, with the exception of Olga heeled prisefighter who finds her James, who is from the theater, favors easy enough to buy with the are well-known in music-entertain right kind of money. ment fields, and with this film are In a less tasteful treatment Joe apt to become even bigger in pic would have carved Carmen with a tures. Biggest surprise is radio ity knife; in this one he strangles her announcer------Joe Adams’ skillfulpor PORTRAIT OF I COME CAT just as the MPs catch up with him, trayal of Husky Miller. And the giving it an ending as tragic as fight scenes are some of the most anything called for by operatic convincing ever filmed. tradition. Jazz fans will enjoy the sequence Carmen Jones is a triumph in in which drummer Max Roach 1* production and directorial virtu- featured with Pearl Bailey (who s best osity for producer-director Otto does her own singi ) in her Beat Preminger, which is to say the LAND same thing for virtually everyone better íhg ^Ct£u£ou<3 fam or me. Kight thi* minute be’* free wheeling it to hi* m dealer’* «hack to dig the
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Write tor free catalog today! DOMllwt MM o. CUNDY-BITTONIY Uu MM Cfi.. All Miei St) ST., KV MUMS, U. ILL. Gibson FACH« MBH ST. Till L SANTEE ST^ US ANKIES, CAL Too Much Radio, Video Time Garner, Herman FEATHER S NEST Set For Concerts ,By Leonard Feather New York—-Following their dM Devoted To Jazz: Ormandy appearana* at Basin Street begi» Who are the thousand most important jazzmen? An odd ning Nov. 16, Erroll Garner’s tra and the Woody Herman band an When question, 1 grant you, but it’s one that has occupied a front Philadelphia — Not all the*- to appear on a series of sonant fore it hi eeat in my mind since the day, a couple of months ago, when arguments in the public prints enough classical music.” dates. At preaatimi, dates were aet a H. S. Mf this autumn were about poli- At. answer cami from lack of * book *inb>tK>usly titled Jazz 50 or 100 years from today the tiea. When Eugene Onnandy, for Philadelphia, Nov. 29; Jacksonville, labiato' jazz that will have lived will be F ielda, owner of the Blue Note, one Encyclopedia. example, returned from Europe to of Philadelphia’s leading jazz clubs. Dec. 2; Richmond, Dec. 3; RaleiR ned to hai' that «hich had the grvateai value. open another lesson aa conduct r N. C., Dec. 4, and Norfolk, Vt, Since the book will contain, pim the arreatest exposure on rec Wrote Fields in his regular column ventam 1 among other things, at least a of the Philadelphia Orchestra, he in the Philadelphia Daily News: Dec. 5. the high f •rd? touched off a pointed dispute in thouaurd biographies- of mosieians, It’s just as true of arrangers. Dear Maestro: of the fine oeveroi tricky jmbienih nave been the press on the nature of jazz and While we would neve' take is gans, Charlie Parkers, and othen have testa Nobody is going to look at an old the amount of radio and television raised concerning the retention or Ellington or Burns or Henderson sue with your music we do feel the of their ilk. These men are serion Now be elimination from the list of various time devoted to it. need of calling attention to a mat students of music and compose a «Stof nal manuscript und say, “Thi» was Onnandy told the Philadelphia figuree who seem to belong in it. great” and try to assemble an or ter in your public expressions . . . well as execute. Perhaps not all d ■an ufacte The big question, of course, is Inquirer on his arrival that “Amer Sir, did Vienna ever have too many their ideaa are completely jellti chestra to perform it. Sr much A ican radio and television stations but they are striving for i ts» what makes a jazzman immortal jazz creation, even written crea waltzes? Did Italy ever have too Had It Too Easy many operas? Did Russia ever thing, nnd need your good wishes, tion, is inextricably associated with included in the book whom I might have too many ballets? Just as Some time at your conveniens Handel, Bach and Haydn had it interpretation. be likely to overlook? th*»» art forms ar* sucocialed stop up here at the Blue Note a too easy. Their immortality waa Rough Eutunate Mad* 2. Who do you think should he with the above-mentioned places, listen to some of the music th My tough estimate is that the rejected whom » might hr templed so, too, is jazz associated with ure putting out Or, if you hava ■eript paper. Centuries later, it’a thousand most important jazzmen, to include? America. It ia our only original the time, you can hear some < possible for musicians to recreate should comprise those (living or This should give us all plenty of contribution in the musical field so concert right in the Academy» what they- wrote and reproduce dead) who helped to shape this mu food for thought. Send youi crumbs Music where the Philadelphia O their creations closely enough to sic in the past, those who are shap to mi at Down Boat, 122 E. 42nd Tor much jazz? To our way of chestra playa. show a new wo1 Id »xuet’y thr value ing it today, and those who seem St., New York City, 17. Before you thinking, Maestro, there’s too little Thanks for reading, and we ea of their contribution most likely to do so in the future, write, let tne add that the follow- t the authentic jazz that is ao only hope that you’ll re-apprait Tht i any jazzmen were not so in an approximate 25-50-25 per decision already been much a part of our era heard on the situation. fortunate. It has been said of Bud cent ratio. made: these various maw media. Sina rely, dy Bolden that he was a mighty Of course, guesswork and arbi- Most perf-rmera who are vir Could it be that you are confut Jack Fiels man with his horn. All we have to irery decisions are almost inev tually entirely in the pop music ing all of the other adaptations of ba lucky • iro or. u the woid of t’io«»i surv ving itable in a venture of this kind, field or in rhythm and blues will the popular music form with true An equally pertinent — thougl »be » e on musician, who heard him, for he and clearly I can’t call on every not be included. With new jazz iazz So runny do- you Know. mart 8urcii.it — answer came fox The rea never made any records, and if he jazz fan to send in a suggested list stars flooding the market at a rate We would uke to take a minute a hitter wnter to the Inquirer, Dm •Bort to al had written down anything be of 1,000 names. However, I can of about four LPs daily, it will be •f your time and ask you to open aid G. Simmon. Queried Mr. Sin played, it would be of precious ask two questions that may pro- tough enough keeping the figure your mind to the experimental »non "If |au is hi ant so frequen little use trying to reanimate it. duar piquant results: down to 1,000, even limiting it sounds that are being created by ly, how is it that I have a had You know what happens with those L Who do yoa think ehonM he strictly to jazz. the Dave Brubecks, Gerry Mulh- time locating it on my radio ” printed solos. Bunk Johr son, according to Louis Armstrong, had the purest tone of all hia early contemporaries; yet nothing is known of him except through some records and a few personal appearances made in his First, sc dotagr, »I ich many critics t-gree Utt suiphfi could not represent his true con to be a qua tribution. at th< oth Recorded Very Little Md. In th to match tl Similarly, many early jazxmcr tin product recorded very little. Those who did Second, ■ were at their best under the ten wiearch n sion of a record session and often ' CLARINET vat aside f were victims of the ancient record ton the cc ing methods. Their over-all in spite of al fluence could have been much great yonr desig er had they recorded frequently. & SAXOPHONE REEDS nan hours Thus, the picture emerges: 20 or isn’t mucl trouble. Piles of work done Grefs HfiEST Shel PREFERRED by pop meYeR professionals
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The has become a reality. Finished ere set * H S. Martin Co., Evanston, Ill., long-time maker of scientific units begin to fill up the stoi> ¡room .ckßori-.-iik at the end of the test bench. All the laboratory glassware and television picture tubes, has pian- time you have been concerned with 1, RaleiA eed to halt production of its newest rfolk, V¡l «er tan- Tl < firm’s xcursion into metals, hardware, transformers, the amplifier and its control unit, the high fidelity field produced me sockets, condensers, resistors, and the sales department haa been at at the finest audio amplifiers 1 ever other components. Now add to this work. Its plans work very well ex the search for a durable finish cept that the advertising budget is ■nd othtti have tested and used. hard put to compete with that of •ri* serio« Now because of the enormous for the unit which can be applied ompohi* « «Nt of national advertising and the with the existing factory equip firms doing hi-fi buaineea on a na ment. tional basis «fff I i not all d 1 manufacturing cost of the units, it tely jellg, .. _, ,tentatively has The plan of advertising in many for noe» cases controls the quality of the j withdrawn thr What do you have to show now? new product unless the company xì wisho* ' ' 1 " 1 ' Ueli, maybe some artist sketches inventami of the dream unit, a bunch of unco has millions of dollars to spend on ' Note ss « L.,*. ,..... I. -I ordinated laboratory reports, a few a blanket adv rtismg cumpaigi to nusic thd yoa trim the design and manufac manutacturers* umptee <>i U.r turing budget and pad th* adver Rrt VS ' wrong parts, and a severe head Using funds r some i J I H v. , ii .-ii ache. .Artemy । Next yoa begin the first model of “Never mind, boys. We’ll build lelphin Or MORt jFj. . the amplifier. Pick an impressive Huh good amplifier next year." »umber—(352). Funds are tow, The H. 8. Martin Co., however, ind we ' n the quality of the lab model is high, built i one to begin with and re spii’a» anti «vv yone cone«.t m J hu a good found few persons were go buy one if you case of premanufacturing opti ing to hear about it. This is a sad cerely, story of the death of a fine quality bnxian wanted to al mism. amplifier. Any one wishing to join ack Field though you might The model passes final tests af- in mourning with me is welcome. bo lucky enough to find one some tci Unde» writer* Laboratories pro The details of the amplifier can be — thoup where on Um market. vided some tactful suggestions. All run«- (moa The reason for the review—an changes cunw to a halt, and the found in the latest supplement of uirer, D» dfort to iho» the haiunia in pre unit ia ready for production. Final Doun Beat’s Buyer's Aid. i Mr. Si» dating a quality amplifier for the Btamping dies are made, tho as o frequeU high fidelity market and why it ia sembly line Is set up for each of ive a hail “wiser” for a company to write adío ” good’’ ads and build marginal wuipment Let’s lake a look at what goes into a fine amplifier like the H 8. Martin amplifier (Model Obtaining Loudspeaker is its drawback rather than advan range loudspeaker, that ranks as tage. In an amplifier we obtain one of the best of the many good superb results by using fancy cir units in its class, is the new 3L-11 Efficiency A Problem cuits; but what can you do to a developed by Dr. Harry F. Olsen First, someone has to decide if loudspeaker? of RCA laboratories. This speaker, ths amplifier about to be built is By OLIVER BERLINER The matter of converting elee when ised in conjunction with the to be a quality unit or like so many t rica) energy to mechanical er»rgy SC12 « ncloBure, gives surprisingly of tht others in the high fidelity Imagine a magnet with a coil of wire around part of it ia no small problem, loudspeakers realistic results. Add In this case the amplifier was and a stiff paper cone in front of it. When an alternating must be as small, as .ight, and as Unfortunately, this cabinet costs to match thr rest of thr r»d Mar inexpensive as possible Votes coils many times that of the loudspeaker, tin product*. current voltage is applied to the coil, it causes the magnet to must be of proper impedance. Mag which may preelude its use in a Second, plans, designs, and more pull the cone in and then push it away. The movement of the net size is critical. Extended fre truly low-cost installation. How research may run over the budget con»- is governed by rhe amount* ■ ------quency 'angi in a compact mech ever, the popu ar R-J enclosure sot aside for this project even he of voltage applied to the coil and anism is required. provides an extremely compact, in lore the concept »node) is built In th. frequency rate of that voltage Now ~mie'i the matt»’ of loud expensive housing with excellent opite of all the work involved in If this loudspeaker were 100 per The vibratini speaker cone speaker enclosures. Agam cost and resulta youi design and the hundreds of cent efficient, it would operate in a manner aa to size enter the picture. A new con man hours spent in research, there exact accord with the voltages be sideration is appearance. Getting im*t much ahow your ing sent to it from the amplifier. posedly irtionate to the volt «int««th extended baa» from ai» im The SL-12 is an exceptionally trouble. However, the efficiency probably ages applied, yet we know from ex perfect loudspeaker in a cabinet sensitive loudspeaker, using a mag Pile* of papers testify to the will be less than 25 per cent, and amination of loudspeaker frequency where size, shape, and color seem net weighing leas than a pound and work done to find the necessary the cone will not move exactly in response curves that this u not to be most important is no small having a response ••■¡oentially flat the case. Why can’t there be a flat order. over the range of 50 to 16,000 loudspeaker response curve? cycles a second. The voice coil im Encloaurr Vital pedance is eight ohms, permitting Gretsch Spotlight Simplicity Drawback As much consideration must be its connection to virtually any If auch a simple mechanism is given to* enclosure design as to high-quality audio amplifier; the all that required to create speaker design, and it is advisable 10-watt power rating matches that Shelly Manne, consistent sounds, smooth response should be to use speakers and cabinets that of roost meiiium-powei home audio obtained easily. But perhaps the were designed to go together. amplifiers. popularity poll winner, very simplicity of the mechanism A new, low-cost 12-inch extended- calls Gretsch "greatest" SON4WIITI1SI Wl CAN HILP YOU! FOR W» »dii, rowrita, m»k» Im* dwah «ad Iha fliwd HI J damenrtratiea '»c vd» "or Ma tog writer» and publish»’» M Naw York CH» EXACTING IXMO4ÍCO IMO l'o«aw»r MUSICIANS ÜOR
No finer Band Instruments are Selected, gradad and made For design, attractive ap* cut for uniformity, pearance, perfection of tone, tune, SYMMETBICUT BEEDS Shelly Manne and hit Gretsch Broadkastere and intonation, YORK has no peer. '’fill tho bill” for WINNER of ]iopularily polls for the past five years. Shelly Manne now Demand the finest. Get it with •et* the beat for the brilliant Shorty Roger« group. His tcintillatiug lop performance YORK. Ask for YORK at your mus drumming tun bIho be heard on the new Contemporary Records album, ic dealer today, or write to: “Shelly Munui* and His Men”. A former Stan Kenton man, he’* “Mr. Drum-’ to the mu-ic world—and those drum» have been Gretsch all the *■>- “Gretsch Broedkaeter«, greatest drum- I ever owned,” say* Shelly. CARL FISCHER Write for your free copy of Shelly Manne’s favorite Lbar drum mIo, MUSICAL INSTRUMENT CO.. « ■nd your free Gretsch drum catalog. Address: Fbed. Gbetsch, Dent. 105 tail 16th Street, Ne* tock S N T DB-1214. 60 Broadway. Brooklyn 11. New York. spirituals aren’t being written any more. They certainly are I get 2F at all. Why, compared to the mi Mahalia To Keep To Her to 30 ne» ones a month to look the Oto Testament, and we had a I heard in New Orleans, it sou through.” new gospel song. like tin pans. “Whut happens is that we change “I hope to go to Palestine my “Dixieland music in New Oi eaat songs about as much as these pop self—Jerusalem especially —to see was loud, but it was full and round. Own Pattern On Discs ular singers do,” she added, “al the real birthplace of the Christ. It had the melody and everythin though there are some songs, of This December if I can get a couple to it. But what people call Dixit New York—Mahalia Jack-> course, wc alwayt sing. But as for land music now sounds like a th son, our leading singer of reflection.' "Sometimes our churches the new ones, let’s say we have a after my Euroi tour in 1952, flute. And there’i- the rhythm dif spirituals (Down Beat, Nov. become highly emotional, and if a new one on the fast tempo Well, but I became ill ference, too. One thing about play record of that wen released to ing the real jazz right is that ya 17), has a huge and enthusiastic . that one we may eng for six Wonderful Tour people who didn’t understand, that months, and then we find another can’t count it. sudiem* boll, htre and abroad. j ecoid might look like it was Mahalia now reaches an even wider , new one with just ns much inspira “Oh, that tour was a wonderful 'You Lose It* making a mockery of religion. I experience! The reaction was won “When you try to write iowi public through her new CBS Sub- , tion. But unlike a popular tune, a wouldn’t want that to happen derful everywhere I went in Eu the exact note for the exact sound day eiening radio prograr. with “You see, everybody doesn’t re gospel sing never loses its flavor. more t« come when hi r fi-zt re After I or someone else stop» using rope. In Denmark, I remember, they far the exact beat, you lose ft joice the same way. Som» people old 20,000 records of my Silent That’s what happened to some :f leases for Columbia — undei the rejoice in quiet and others have an it for a while, it can be renewed supervision of Mitch Miller — are , through anothei person’s interpre Night recording after I sang thi re. our spirituals when some people The« emotional outburst Let people re My goodness, it was uonderful the act the way they want in their tation. ing and “Sometimes, despite the number way they accepted the songs. messed up, because you can’t coast “I’ve already met Mr. Miller,” church or at home But I don’t see “While in England, I broadcasted it. Like When the Saint-, Go Mark said Miss Jackson during a recent putting it on to a record.” of new gospel songs that come in, we can’t find any that we can use on the BBC. And among the people ing In. They may put down tint visit to Ne* York, “and I have a Turning to the pint rai ¿tau’ jf waiting for autographs outside the phi use on paper four times, butw Wood- lot of faith in his ability as a re spiritual singing i-xiay, Miss Jack But here's how we decide. My ac Third companist, Mildred Falls, who has -tudio, »here was a young group may say it 12 times if we feel like cording'director. He’s made quite &oi usserto-d that “there is a.* much that asked me if I’d be president of it, nnd then we*ll come right in a Jackie a few stars. I understand. And I spiritual singing now as there ever been with me for about seven years, plays them for me. If I can catch their jazz band Oh, those children tl at bounce, on the right beat great hope I’ll be able to do as much for was. And the audience* certainly were wonderful all ovei Europe! “This pattern of my own STgug Columbia as I did for Apollo. feel the gospel songs. Feeling and the message of the song, I’ll take it. But the songs haw to have a Evi i ywhere I went they’d be there. —it breakr all the laws. In Europe, “I did tell Mr. Miller that I the gospel song go together- to 12 PIEDMONT ST. BOSTON 16. MASS New Directions Diac Data Ratings 1 omment* THE Tone Heard ‘Round the World ^HkAAr • Viatm in 1947, thia «iMphun- 1* svactlaMs Uiwfil- oid-faaUaaad ta Theme PerformsMSS Ila afaci—laburad a» d dari.atira. Ila In.plraUoa » ia dirart propnrtloa ta ★★★★ ite speed, whisk means its two slaw movement* cog* Haasaa conducts its first Anna Ms Reser« log LP pressing mors than capably. Kiss, I • The Walton concerto is 25 year* aid, but it*s a neweaamr te LP, aad it’s Ames Bn Performers* a rarity aa symphoaie programt, becaase viela soioists are few. Magalfieeatly Addio *★*/★*** played by Primrose aad Sargent, tbis disc probably will serve a loag-Uved Recording plase ia the eatalag far itself. The Hiadeadth, a eoaeerta far viola aad aasall Teresa B •triag orchestra, Ie less persuasive all the way. gets th Roseman We’ll ] • if. Owen Raed’s falb-tang sympbaay is as •‘programmatis” as aaything ■ E N N I N ■ < amwa. fessi. Performance Berties put together a hundred years ago, aad seme af its details are lost surefln CHETO i Faaiat/ THOMSON, here. There’s simpler and more colorful orchestration amid the four bands Dorothy lelaa» Maate/ HANSON. i A. Recording which share the other side. shows Vic Dam pretty, Bill Darn Standards We Wa mas no1 RRAHMS: Symphealm, Haydn A A A Adr • This is the sort ef thing we weed to sail “moaumeatal”—mntll the record Georgn. vuriatieas, Pr^is overture, dsa- maker* took te patting projects this rias on fear discs in one neat album. ★*** 1 demir Fmtieaf evertara, fear A salute te Walter as w«U as Braham, the set is beend te rank as a keystone Mambo Hungarian daaean. New Tort ■•••Riin» ia suggested “muste** fer basis libraries. Ihcre are a few awkward breaks ia Eddy Hou Philharmsnii, Brane Walter. ronilaalt; bal «mb mor* Md«» but all feur •a»,buulaa atari au tha Cnt doubt o: COLOUIA MiOO. 4-U'. band, aad ae work rogaires rasnrd tarniag. Bob Maur ■ OVSBOBCSKV-OAVS.! FU- A A A ft /drf^A ■ Raarl, a lu>«> ■*W.uu«a.u aarb af thwn brilHaat, dua't a4d up ta aa Just fo mnaliUl.lvr FXAN1A! PerfeHMBoe exhibit wlma there Isa’t aay rontrari. These are toe ceaselessly hard hit aad Kn» NB1 ft ft A ft ft highly soUred. The Franck is nicely defined bat small in dimsarion. be hit n phony firtaro Teeraaiai Raeerdiag Lorry Rai ■ca victor LMiaao, ir*. UMSEY.KOKSAaOll > *uun 4riririr/4r1r a Nabad; saw imada ib» datar .alta wuad Uba aaythia, but a bare, and could pt UmhRmt, deter. Leadea Symph eny. Perforamos» 'yshsrcbsa deesa’t seeeoed now, although his Ra »Nan KÓuSmf, ea the other side. Hermaaa Selmrclmn» 4 r. • is filled with imagiaaten. Don Sena WE“T»51N“TT» WLMBO, U' Reeerdiag shows « Jeri South Vocal Varieties Remind Sarah Va Idle Got HARRY JENKOS und core BILAHMS: Sm* ir Fefe Stria Trumpeter in Leading Aaay Falb ti nanu» VANCUABD 'I'*« IF' and TELEVISION BANO^ ■AMO LAMIA atari 4 lui aad the be* Les Browti liuodle-1 Merecí ’i Sonny Bu< Phfft M • RCA has derated mere faafara ta ather raises ss la tha last few maaths, bat few af them a*« ta a slam with this thrilliagly pelishad perfórameos of iungerne aa erergreca. Rabiastsla Is mare assurai« thaa usual, Valleastria splsadidly Ralph Flm pp se operative. America • Let’s fase it. Not sveeytfaiag this marveleasly gifted yeaag naa plays is net too, definitiva. Hers are fine samplss ef a bravura toshnAgae losing ite sanie ef Woody Hi direction, elthoagh the thrilling rishnsst of the artist’s tene Is eimalatod with striking slarity. Woodchi is Musk • A piano due of whom we’ve heard Uttle ia reseat years reappears with Ralph Mai a seaad aad ssiatillatiag perforameli of a staadard that still appeals. There’s be anoth pp nt ».ciuci n jiiiui.siiciimVimini mstiimeiti ru un mit a turur G* aid Wi bandwor INSTRUMENTALS TOP DISC V Ui east nd round, verythiw Leroy Holme«—Tara' Theme/Jamie (MGM) Fred Lowery all 1 ixw- whistles the lovely Theme from Gone with the Wind ike a th Don Jacoby—ll/iat Neu 'I Lot's You So (Coral)...... Chicago st. Jio ythm dlf trumpeter glistens on New tout play, Dimitri Tiomkin- Hajji Baba/Duel in tht Sun (Coral).... Excellent that yot purfiamanctb of the current hit and Tiomkin’s own Sun Victor Young—Passion Tango/ Last Night When We Were Young (Decca) Bestringed goodies rite loin from the Young orchestra act soul FOR THE DISCRIMINATING i lose ft » some el ne wopk These records are th«- cream of the musical crop—the moat interest THE JAZZ SCENE ing and musically sound aide* reviewed for this hsue »• selected from an’t > ouit «ariou» categoric». la March The following lecords represent the best jau tides received for town th* indy Herman- Muskrat Ramble/ review thi* issue. See pog«* 10 for complete reviews. es, but wt Woodchopper's Mambo (Cap) ... .Crackling performances from the Iiouis Armstrong—Play-: W C. Handy e feel like Third Herd; just about perfect dance fare (Columbia 12 LP CL-591)...... Great Armstrong, and one of the ight in a Jackie Paris- -That Paris Mood (Coral LP CRL-56118) Eight top recordingri in jazz history great standards that Jackie sings refreshingly rn singly In Europe Housed Miller • excellât Second in Down Beat*» series »uld play COUNTRY & WESTERN of disc jockeys to piek what he he bouna GOOD COMMERCIAL BETS considers will be the top record of Pay it to fhr best country iind western rmird« received for review in thi- ieut, this two-week period is Howard N* moviat Charline Arthur- Leave My Man Aime/ Miller, one of Chicago’» and the will août Somcont'-t Used To Be (RCA)....The gal gets better all the time, nation’s best-hnown record spin- music ku and Man will be hard to leave atone ;, you cat Jack Cardwell—I Discovered You/ His pick: nd to aiig Ames Bros.—Naughty Lady of Shady Lane (RCA) Looks to be No More (King) The Alabama boy comes up with another ROSEMARY CLOONEY—Memho have thi* on the way up strong country waxing Italiano (Columbia) Bill Morgan -Follow the Leader/ icles.) Kaye Ballard—Triumph of Loot ( Decca I Kaye could have a win ner in this attractively-done side Someone Like You (Okeh)...... Leader will top this disc because of on targes. novel reading uf novel material New, Low-Priced Karen Chandler- You’re Always Welcome Home (Coral)... .Might be Carter Sisters-Mother Maybelle—He Went Slippin’ Around/ Miss C.’s first hit in nges; song is most commercial Are You Afraid to Remember Me? (Col)...... Fine group the Finest in HIGH FIDELITY CUFFORD BROWN JACK TEAGARDEN • VIC DICKENSON AND MAX ROACH BILL HARRIS • CLAUDE JONES • BENNY MORTON DINAH WASHINGTON nome Delilah You Brought A New Kind Of Biue Skies Parisian ▼horoughtt'e Love To Me Bye Bye Bluet Daahoud Somebody Loves Me A Foggy Day *y Soring Lita I Let A Song Go Out Of My Hoart Where Or When MOUSSI Once In A While You Brought hew Kind Of Love To Me A A Foggy Day Somebody Loves Me Delilah I Let A Song Go Blu« Skies Where Or When Parisian ThorougMare Out Of My Heart Ir Bye B1*’ Once In A While H-iettl r 1, 1954 continues with a repetitious, long records, but it’s too bad it couldn’t series of rounds in which every have been in a frier, more stimu Jazz Reviews body takes four " ' spersed reg lating setting Hia associate? here (Jumped from Page 10) ularly by fouis Shelly) and are trombonist Floyd O’Brien (mis CREW-CUTS Singing The "“^■CuhOnlbio^ DOWN thi Oid o the ac wt" working *> ALL-TIME varsity drag "TTY can . GOTEA J ALL-AMERICAN MG 25200 1 4 "MiTtAL HERO CREViCVTS CAMPUS FAVORITES P»rM Chwn Crew-Cuts P*Crew-CuhOiiTlie Cumpui w conFeT^0-“ ÄSreWOOCJOMG r°°e!AUj"K> EM-327S COUfGiATs reeccÎÇgîgW/iwar » 1-3274 rag i RECORDS Featured At Year Record Dealer This Month! Costa (vibe« and piano), Kenoy Wallington’s lines are also almost own style, cuul Listen to Grand Ola Opry Every Saturday Night 7:30 P.M. CST WSM, Nashville our latest release Victor Records: 11by Don't You let Me Go' while Hank is cashing in on That Crasy Mambo Thing and The Neat Voice You Hoar ... Vivian Jackson, pres DO^ ident of the Johnnie & Jack-Kitty ߣÄT By BILL MORGAN Wells Fan dub, reports that within The Duke of Paducah, longtime comedy favorite of Grand two months she hae received mem ber« into the duh from 29 states Ole Opry fans, will start a new show for Jan. 1, 1955. The and Canada . . Arlie Duff, wind shows will be 15 minutes and transcribed and will be heard ing up hie Texas honeymoon was 300 stations. The format of»* guest on thr Big D Jamboree in Children Of C & W Stars the show will call for guests, V ember. The; are also writers of Dallas Oct. 23 before he returned country music, and, of course, the the current ’ebb Pierce recording to his regular spot on the Ozark of Fou’re Not Mine Anymore. •ulk versatile Duke . . . Owen Bradley Jubilee . . . Radio Rediffusen, a com Following Family Tradition just back from Springfield, Mo., Judge Takes Over broadcasting station in Singapore, home of Radiozark Enterprises and George D. Hay, long known as bought Radiozark’s Tennessee Er srat KWTG when he did a session with thr Solemn Ole Judge and founder nie Show for a local sponsor. Acu > By BEA TERRY Red Foley for Decca . . . Justin of the Grand Ole Opry. has taken Patsy Elshirr, whose first Cap A lot could be said about the development of talent among Tubb aiui GoMic Hih cut itol release has reached the record Nas session for Deeca oct 2b. They stores, returned after a brief va Vid sons and daughters of country-and-western .irtists. Here’s still are riding high with Looking Martha Fei We neglected cation to her daily radio shows on The just a quick run-down : Back to Sec . . . George Morgan, to mention the fact that Car Smith Station KWTO where she appears whit By now everyone is familiar with»------Martha Carson, Mac Wiseman, the has added drummer Buddy Har with Hawkahaw Hawkins and Jean sepe io .x. .> i ,tov" 1 » j ' Carlisles, and the Davis Sisters mon. Smith uses Harmon on all his Shepard . . On his ABC network son and a ch.p iff th» *le buck MBCa sOtevj are on a personal appearance tour lM*rsun For voting us the and his band exclusively on “Best New Singing Group RCA Victor Records in the 2nd Annual C&W Creatori of: "Slowpoke," ‘‘Bonaparte'* Retreat,' Disc Jockey PoK-DOWN "Tennessee Waltz' BEAT November 17 Issue Latest Release: "Peaches & Cream” backed with Still Going Strong: "Here Lies My Heart' DAVIS Hear us NBC Radio — Coast-to-Coast THE SISTERS on CURRENT RELEASE oas Saturday Nights: 9:30 P.M. CST "FEE WEE KING Show" See us this season at your favorite ballroom Also on Television NEW RELEASE WAVE-TV—Louisville on Thursdays WLW-TV—Cincinnati on Fridays For available dates contact: Exclusively Recording on VICTOR RECORDS Currency On Tour: The Dakotas and Michigan King Enterprises 303 Vaughn Building For Personal Appearances Contact: Louisville. Ky. Phone: JA 5535 HIS R Skeeter Davis Covington. Kentucky 1er in I hi, lau po^er- Oi^p know I vou ca Keep An Eye Out For Jamboree —Coming Soon -end yi tiret-e! Brookl , 1954 while DOWN BEAT Crazy country show should look. He ; Voici emcees the half-hour weekly shot L A. s Mambo City Stokowski Disc Queen City (WLW-TV). Top Tunes within The sho« moves along rapidly, At Million Mork I mem- and some top-notch guests have Now Is Jazz City New York—Leopold Stokowski ■tatea Quips made appearances — Patti Pag«, C&W has become the second Red Seal , wind the Golden Gato quartet, Jean Hollywood—In a sudden switch conductor in the history of RCA Sheppard, Goldie Hill, Ray Price, that to some seemed at variance Victor to receive a gold record for in was ------By Nelwa Kimj------Jill Corey, and Bill Lawrence. 1. Webb Pierc« Moro and More >r«a in Jimmy Williams, country musk (Deeea) with current trends. Mambo City, a recording which passed the mil 'turned Cincinnati — One of the most the Hollywood Blvd, spot hereto lion sales mark. spinner at WNOP, across the river 2. Hank Snow—I Don’t Hurt tup The conductor recently was pre Ozark talked about occurrences in the in Newport, has waxed his first fore dedicated to Latin rhythm, has iaen, a country and western music business more (RCA) become Jazs City, now dedicated to sented with a gold copy of his mil on Acorn, a local label. Both sides 3. Red Foley-Kitty Welle—Owe by lion-seller, The Blue Danube Waltz, sapor«, in recent yt urs is »he recent sep are worthy of other DJs’ support. “the Modern Sound.” iee Er- aration of Murray NaaK from the One (Deeea) by Emanuel (Manie) Sacks, vice Some of you, while reading this, Opening attraction under the president, in a brief ceremony at or. Acuff-Rose publishing firm. Every will be attending the first, annual 4. Stuart Hamblen—This Oio new policy was a combo headed by A Cap body in the businebb knows A House (RCA) the Rockefeller Plaza offices of the meeting of the Country Music Disc guitarist Barney Kessel and con Radio Corporation of America. record Nash’s fine background with RCA- Jockey association and WSM’s 5. Hank Thompson — New Green taining Art Pepper, alto; Sonny Victor, Mercury, and Acuff-Rose. 29th anniversary celebration of Light (Cap) Clark, piano; LeRoy Winnegar, owi on They also know the high regard in Grand Oh Opry in Nashville. To bass, and Lawrence Marable, Victor, Coral Vie ippeara which he’s held by all concerned, the DJ’s we offer this bit of ad Most Promising drums. id Jean especially by the disc jockeys. And vice; 1. George Morgan — Wither Thou Tuesday nighta are to be guest With Boy Friend .etwork even though Nash will have no If you have a gripe, get it off Goost (Col) M Oct trouble getting another job, it’s the your chest. Many problems thus star nights. Lead-offs as special New York—Tho Boy Friend, cur Volker, feeling of everyone I've talked with 2. Pee Wee King — Poaches and Tuesday night attractions were can be solved, and you will be Cream (RCA) rent hit Broadway musical, has that Fred Rose lost a strong link to ?iven every opportunity to speak Zoot Sims, tenor, and Chico Ham aroused fierce record competition, w from writers, artists, and platter spin or yourselves. For those who 3. Ray Price—// You Don’t, Some ilton, drums. for both Coral and RCA-Victor re /er the ners. don’t attend the Nashville get-to body Else Will (Col) Co-owner of Jazz City ia May leased albums of the score. On the local scene, Pee Wee King gether, Down Beat will provide 4. Davis Sisters Show Me (RCA) nard Sloata, the former drummer Victor has the original east re reduced has been showing everyone con complete coverage of the event in 5. Jim Reeves Penny Candy (Ab who ia also a co-owner of one of cording. Coral vies with an album Victoria cerned how a first-class television the Dee. 29 issue. bot) L.A.’s liveliest and most successful featuring Teresa Brewer, Don Cor Disc jockey» reporting this issue take-off spots. Strip City. nell, and Paul Whiteman. are: Nelson King, WCKY, Cincin Arthur nati ; Tom Edwards, WERE, Cleve- id Dave THANKS DISC JOCKEYS FOR VOTING US land; Johnny Rion, KSTL, St. k joek- Louis; Dale Stallard, KCMO, Kan Long Stand Seems Assured THE NATION'S NUMBER ONE COUNTRY & WESTERN BIG sas City, Mo.; Jim Wilson, WHOO, Orlando, Fla.; Jim Atkins, WBR« BAND AND FOR VOTING OUR CAPITOL RECORDING OF Birmingham, Ala.; Long John Der SUNRISE SERENADE THE BEST INSTRUMENTAL RECORD. rick, KOST, Orange, Texas; Jack For 'Jazz Dance In NYC Gale, WTMA, Charleston, S. C.; Joe Penberthy, WJR, Detroit; Lee Sut New York—Roger Tilton’s Jazz* ton, WWVA, Wheeling, W. Va.; Dance, a two-reel sound short based calls off the tunes. These veteran Kenny Hofer, KCRG, Cedar Rap on the Dixieland concert-dances Dixielanders fill the high-ceilinged ids, Iowa; Sheldon Gibbs, KR1X. held every weekend in New York’s hall with jam versions of BaUm’ Phoenix, Aris.; George Slocum, Central Plaza, is in for a long run the Jack, When tha Saints Go HANK THOMPSON at the Paris theater here. For the Marching In, Royal Garden Blum. KIOX, Bay City, Texm; Mack Sand er, KFBI, Wichita, Kas.; Cliff Rod- last month the “upper East Side” and some improvised blues. gers, WHKK, Akron, Ohio; Cousin patrons of the art cinema have ap Fervent Dancing And All THE BRAZOS VALLEY BOYS John Bassett, WNEB. Worcester, plauded the naturalness and au The dancing is nondescript but Mass.; Sammy Lillibridge, KFRO, thenticity of this unusual featur fervent and sometimes freely im Longview, Texas; Chuck Keer, ette, as the critics did when it provised. There are bits of the WIAM, Williamston, N. C.; John opened. Charleston and Lindy Hop discern ny Hicks, KRLD, Dallas, Texas; The entire soundtrack of Jazz ible. Two professional dancers, Glen Stupman, KYOU, Greeley, Dance is avsilable on a Jaguar Leon James and Al Minns, were Colo.; Bob Martin, WMIL, Mil long-playing disc. George Bennett, planted in the crowd as a stimulat waukee, Wis.; Ralph Bassett, Jagua* '• owner, reporta the records ing example and they drew circles KWDM, Des Moines, Iowa; Clay are selling weU, and he has been of onlookers around them as they Eager, WLOK, Lima, Ohio; Thom receiving many queries as to when danced. Viewers will be entranced Hall, WKYW, Louisville. the film will be available across the by the dancing of one enthusiast country. in a leopard skirt. Also shown is PERSONAL MANAGEMENT Applied Jan the traditional snake dance while This “on-the-spot” depiction of Tho Saints is being played that al JIM HALSEY applied jazz music as practiced by ways climaxes an evening at the a coterie of uninhibited enthusiasts Plaza. Independence, Komei is the result of three hours of cam There are many novel and artis era shooting and sound tracking tically planned camera shots. Ricky PHONE 1203 followed by months of judicious Leacock (Louisiana Story) and Robert Campbell employed some editing by sound specialist Richard new techniques they had developed. Brummer. Shots were taken from a small bal The Central Plaza ballroom, a cony overlooking the hall, as well Gretsch Spotlight smoke-filled room out of the '20s in as from a lying position on the decor, was alive with technicians dance floor. There are dose-ups of and equipment on the night of the the band, including Foster’s fingers picture-taking, yet the captured as he slaps the strings of the bass. "That great Gretsch sound" glimpses of the patrons snow a Producer-editor Tilton, who throng oblivious to everything but teaches the history of the motion the music and the rhythm of their picture at Columbia university, draws rave of outstanding own bodies. plans to do a series of shorts de Both heard and seen are drum picting dramatic aspects of Ameri- THE WILBURN BROS. I mer George Wettling, clarinetist an life, of which this film doen merit drum star, Louie Bellson Pee Wee Russell, Jimmy Archey, of jazz is the first. Tentatively with the little trombone giant; George planned as his next project is s Doyle & Teddy (Pops) Foster, on string bass, pi similar work baaed on the mambo anist Willie (The Lion) Smith, and antics at the Palladium. STARS of WSM s trumpeter Jimmy McPartland, who george hoofer Grand Ole Opry 0 om Alter 25 Years... Still tho Most Popular Saxophone pads are needed to perform w j ri nary iob—to restore as nearly as possible, when closed, the effect of the basic, conical Hope you like our shape of the saxophone body. Every Res-O-Pad construction feature is aimed at doing this job New Decca Release!! better, and longer, than other pads. Exclusive tnetal ring and disc holds accurate size and shape;'sort, genuine English bellows leather “Let Me Be the snd firmer, woven felt give you the important resilience for snappier action, and a tighter seal when closed. Insist on Conn Res-O-Pads next First to Know” rime your saxophone is reconditioned. Lopie Bellson and his Gretsch Broadkasters A 5535 HIS RESOUNDING triumph with Jeu at the Philharmonic is the latest chap ter in Louie Bellson’» amazing success atory. Already known are the facts about “Carefree his laurel-winning dramming for Duke Ellington—hi» genius a» arranger, com- poser—his resourcefulness as dram designer * for example, the famous Gretsch Momenta” Cut-away view shows RES-O-PAD’s txdstnt "Disappearing^ Dram Spurs are a Bellson inspiration!). But yon may not niutnftns with metal ring, metal disc sound board, and firm woven felt—all important to know that Lome ia a long-time user of Gretsch Broadkaster Drums and that Exclusive Persami Mgt assure fast action, lively tone, long wear. yon ean get a lirt of bi» actual dram setup from us—no obligation. Well also send you, free. Louie Bellson’» own favorite dram solo, and, with it, the new HUBERT LON* accissosy * sisvici division Gretseh dram catalog. Write Fuu. Gutsch, Dept. DB-1214, 60 Broadway, 1U7 McOevssk Mbs NteMDe. Twa C. o. CONN ITP. — ILKHAZT, INDIANA Brooklyn 11, New York. AVAHADlf AT IfADINO Pl PAI It SWOPS AND STOAfS December 1, 1954 linci pasture? in the Surf club Crumpet Powell «.ombo at the Midway . . . man Al The* made the switch The Johnny Pineapple Hawaiian with them . . New drummer with revue played the Bali Kea club the Hotel Charles band is Johnny two weeks from Oct 25 The t Jumped from Page 18) Cope. Four Coins, a local quartet which the Down Beat in October with —Joe quinn and tex gathingo won an amateur show and go» a turna way crowds over the week contract with Epic Record.«, at the Liv ends and the joint loaded even on NEW ORLEANS: Harry Jamee Copa for a week . . . The Goofers Electi nights uff . . Lenp Horne canceled band treated u crowd of several played the Vogue Ten ace for six nounc h«-r Fairm»*nt hotel date. thousand at a concert and dance. weeks from 0c’_ 25 They were of pr< Linn’s ballroom in Oakland, ren Featured were Juan TizoL Willie followed by the Vagabonds . .. The tapes. ovated and renamed the Sands, Smith, and Corky Corcoran. Profits Blackburn Twins nd Genic Stone booked in Mel Torme for two nights went to thi New Orleans Associa played the Ankara for two weeki.. Th« the first week in November . . . tion for Retarded Children . . . —chariot c. tordt t elea.« Ray Anthony playing a week of Illinoisan Paul Neighbors followed first t one-niters up the coast prior to his TORONTO: Two days before histoi Russ Morgan into the Roosev elt brary, Hollywood movit bit . . The Ber hotel’s Blue room for four weeks the Johnny Hodges group pl iyed muda Palms in Sai. Rafael, Calif., . . . The Paul Guma trio (Gun.a the Col.niul, they welcomed Sonny made a new spot managed by Bostoman on reeds and guit ir; Teresa Kelly Greer back to the fold. Gner had reels c Charle*- Litchfield, planning name piano, and Henry Ascher, bass) been away from the Ellington stars Thii band booking this fall . . . Bob plays weekends at an uptown» for two years, but he sounded as PITCHMAN-TURNED-CROONER. That’s Ron Terry (reeond from Verdi Scobey AVEDIS ZILDJIAN CYMBALS ZILDJIAN CC AVEDIS ZILDJIAN COMPANY • 39 FAYETTE STREET . NORTH QUINCY, MASS U S.A CYMBAL CRAFTSMEN SINCE 1623 IT HAS LONG REEN A FINE ART WITH US Well- 195» December 1, 1954 Full-Length Opera Hazel Gale Westlake College New York — Herewith a pre»» Rhythm & Blues Notes Available On Tape agent’s report following the last By Ruth Caq< Names 54 Bests' hurricane to hit New York: Hollywood - Westlake College of Livingston. N. J. — Livingston “Sunny Gale, quick to capi A New York radio commentator, Buddy Bowser, got us Music will hold its annual award Electronic Corp, here has an talize on her name association with the »uccession of New York off on an unhappy train of thought the other day when he party for the Best Performances of nounced a new “Connoisseur” line said to his listeners, “Rhythm and blues ia just another form 1954 at ar informal party at West of prerecorded dual track classical hurricanes thia fall, is recording lake on Dec. 7, according to an tapes. an album of weather song» for uf segregation.” Perhaps we would-^ Victor with picture? taken dur n’t have got so interested in this announcement made from Alvin Tht unique feature of this new ing th« »torm« providing an un line of thought if we hadn’t no L. Leonard, director of Westlake. release is the fact tliat for the usual album montage.” ticed a short time later that Sam- Stan Kenton will receive West first timi- in the short but exciting The •-prrcl of the record», one my Davis Jr.’s record of Hey, lake’s “Man of the Year in Mod history of the prerecorded tape li would ,«umr, will be 378 rpm. There is being listed by a top trade ern Popular Music” award. Les brary . a full-length opera ha.- been paper in its r&b standing*. Brown will take home the award made available on two seven-inch Maybe there is some other ex foi the But Bond; Kitty Kallen reels of tape. Bernard Peiffer planation of why a ballad, sung will be given the award for the This first operatic relea ie is like a ballad in conventional pop Best Recording; Frank Comstock Verdi’s A Masked Ball, featuring style, gets in the lineup with the will receive the award for the the Paris Philharmonic Choru.- To Work In U. S tunes with a blues beat. However, Best Arrangei and Charles Emge with the Radio Symphony Orches New York — Bernard Peiffer, neither Roi-emaiy Clooney nor of Down Beat will garner the urda» tra of Paris with Rene l,eibowitz French jazz pianist whose records Johnnie Ray’s versions of this hit Westlake award for the Best Re , whit conducting. haye earned him the praise of got so classified. What made Sam porting of Popular Music. ment, The new Connoisseur line, says American critics during the last my’s different? ■enth Livingston, will supply carefully two years, is being brought to this A couple of other questions days for the music business, and »elected material designed to aug country on an immigrant’s visa, crept into this reverie. If hits are Bill decided to change his plans. ment the libraries of prerecorded under the auspices of MCA. determined by sales how car Ruth He went to Texas where he re tape collectors who have dual Peiffer, long a favorite in the Brown’s Oh, What A Dream be No. sinned the music studies at Wiley track machines. Each sever.-inch Vieux Colombier and other Paris 1 on r&b charts und then nowhere college that he had begun on a reel will contain approximately one boites, has already been set for his un pop charts (especially since scholarship to Tuskegee institute hour of music ana will sell for an Patti Page’s version is somewhere Playing it round that area at the Deep audiophile net price of $12. Embers, probably in February in the 30s in such listings)? time wa* the famous band of Mil Rom ton Larkin with such stars as What’» The Difference? Arnett Cobb, Eddie Vincent, Joe je im Just what is it that make- Joe [track Thomas, und Illinois Jacquet. Da Turner’s Shake, Rattle, and Roll a vis went tc work with them as P will thing different from the carter Bill Davi» arranger and guitarist. artin, copy V» Bill Haley’s Helen would not be limited in his climb Join» Loui» Jordan Comets? to fame and fortune because of an Kelly, Not many uf us have forgot that In 1945, Davis joined Louis Jor- illiam arbitrary distinction. Here’s a fel i &b is simply the latter-day name low who has created an important dai as pianist and arranger. Mean foi race records The bit about “a new jazz ound with the Hammond while, ne was studying the organ rose by any other name . . .” may as pastime. Before long, he had rcury Not only was the Martin trom organ. His recently concluded well be applicable here since the stand at Birdland wae perhaps the persuaded Jordan to add an organ 'anted change apparently was not in atti to the band setup. The next step bone accoustically designed to keystone to a future that c tight tudes but lather because of expedi to be quite bright. He killed the for Wild Bill was a trio of hir miliar ent public relations. own with Chris Columbus on drums imong specifications of a commirree of customers with everything from Actually, aside from the obvious Shake, Rattle, anil Roll to April and Bill Jennings on guitar. social reasons, we pursue Bowser’s in Paris. Perhaps the most outstanding tht nation's finest players . its thought in the interest of the per feature of the trio is its almost formers who don’t get a fair shake. Davis got around to the organ big band sound, the result of Da much lighter slide (with specially after a long spell as a pianist. He vis arrangements and his deft ’■ Ne Davis An Example made his first trip to Neu York ! good handling of the organ. During designed stocking bearing) We’d like te think, for example, in 1938 in search of work with the Birdland engagement. Bill re .i mtry that a guy like Wild Rill Davis a band. But those were the bad as the makes it far easier to play. arranged his April in Paris for Paris, Count Basie’s band, and thereby Martin’s thinner walled slides are moved up as a top arranger. Versatility is u characteristic OHIO IUIIDIM • SUB 411 hydraulically drawn to perfect of the west coast’s Joe Adams, m s. vaiasi hl, chicaso ». iu too He’s one of southerr Califor size and spring liardness. Preci- nia’s top deejayi- who is playing school or percussion and music the role of Hurky Miller in the sion control of volume git es you Th, fina»! prof»ulon»l toachlng itali In Mia country, scuplaà with ov»r twenty iaaii of movie Carmen Joni s. Now he’s .nitruction uting th, mod modern, practical me'Sode »Mur« you of tha training signed to a contract to make rec- Jut accurate intervals, too naceuary to. roach your goal. The Knapp School ipocialliat In all branche: of par- ords Los Angeles gets its ruulon piano, vole», theory and all orcheitral Inrtrumanti. first >se this week of Faye want the finest in trombones at «Bin FOB INFORMATION AFFROVEI FOR ROMAN VETS TIAINIM Adam» She called the town home Ml INSnoaitti WDM nNKHO DOU»’ a long time ago . . Out that way no extra cost . . . try a Martin the Oasis club has been booking the top r&b talent. The Chords You 11 agree—it’s a terrific horn Gretsch Spotlight have been doing well for the spot For name of nearest dealer, write In BOSTON for DRUMS THE MARTIN BAND INSTRUMENT COMPANY "That great Gretsch sound" CHARLES ALDEN Elkhart, Indiana 12 Hanfiagtae Avena» wish KlaMO'a 4-3914 draws rave of still another OWrtbuton ar tACH treu Irufrunuif, DLB drum star, Mel Lewis SONGWRITERS The OUT ”.g®... for you . . HELP- What NIL . . . INFORMAT1TE . . . EDUCA TIONAL FREE lyric contort Spacial to DR ■ .ed».| |1. foil . w *tUS FEU --»> lei 'What Evary Songwriter Should Know makes the to ovary aaw wbeciIber. Sample copy ’•ly for INTON, Tte MATtM SONOVRITEI »tosafe MULU- MARTIN S W. Somertof St Rattan 1, N J. TROMBONE BAU PLAYERS a complete Une for bate. The Famous APTO BAS S • K I T APTO Stria«* (Safranaki** so terrific? choice)» Metal Strings (Max Wayne's choice). Canvas Covers (also special sixes)» Amps, Mikes, Base Guitars, Recorders. Dollies (to order). Arrangers Sup. Bass Methods, Rosin Tools, Adj. Bridges, E String Extensions, Soundpoets, Pegs, Bows, Basses, etc. orchestrations! COMBO ORKS : Mel Lewis and hit Gretsch Rroadkasters BAND MUSIC MEL LEWIS play - his wonderful drum» with the Stan Kenton orchestra Musical Supplies ; in the new American Festival of Jazz. A former Ray Anthony, Tex For Free Catalog • Benekc man and one of the nation’s top drummers-Mel goes all out Write to: J in prai«c oi his Gretsch Broadkasters. They’re the new “Birdland Model” in Cadillac green and gold plate “What a sound” says Mel TERMINAL "grruteM drum- I ever owned.” Write for your free Gretsch Drum MUSICAL SUPPLY lac Catalog that tell» all about the drum- played by America’s drum Mars. M. M, III W. U SU X. Y. N, ■. Y. O. B. Massingill, Address: Faro. Gretsch. Dept. DB-1254. 60 Broadway, Brooklyn 11, well-known trombonist New York, Decemb DOWN BEAT December 1, 1954 Faith To Handle THII PERSPECTIVES Etting Film Music ■ By Ralph J. Gleason Estelita, Cocoamit Grov«; Los Augelos Hollywood — Percy Faith, a ma jor name in the record industry as Two incidents lately, bring to mind the importance of util The lively Latin lovely who than singing as such, so it’s a a conductor and arranger of sym izing the space on the back of an LP jacket for some intelli pulled out of her Hollywood film minor point. On this date she was phonic treatments of popular songs, career to carve out a solid niche accompanied throughout not only gent purpose—Leonard Feather’s barbed comments in a re- for herself in the supper spot cir by Rex Koury’s house orchestra arrived in Hollywood this month cent column concerning the AUegro4- for his first film scoring assign cuit, has added some new and good (under her own conductor, Arman ment. and Royale releases and George tion■ among the big ones has been routines to her act since her ap do Herrera) but also by the former Frazier’s disavowal of the notes 'Columbia where George Avakian’s pearance here about a year ago. Kenton bongo-conga ace, Jack Cos Faith will supervise the music credited to him by RCA-Victor on careful' notations have set a pretty for Doris Day’s numbers in Love COMBO high standard. Even on its popu She is also a more confident and tanza. Me ur Leavi Me, the Ruth Etting nmgemi the Glenn MiUer Memorial Album, polished performer, with a series Her excellent arrangements and Trumpe Limited Edition, Vol. II R.S.V.P. lar1 LP aeries, Columbia has re biofilm, in which Miss Day will bone (c alized the value of album notes as of songs and dances—not dances in then presentation make her pro- play the title role. Only other mem mereiai, Feather, as you may remember, 1 the formalised sense—just effective ductivn of musical interest far be roe, Ro made a good case for Allegro and 1a sales tool. bers of the cast announced at this Perhaps the other companies use of her stunning equipment— yond that of the usual night club writing were James Cagney and Royale using common sense and that range from the exotic, through act. The show she headlined here IXPfRT I the album back to tell you a bit ’eventually will wake up. Capital is Keenan Wynn. minor e making a pass at it with the Ken the humorous (as in Hernando’s was well rounded out by comic Henry < about the albums. Frazier says he 1 Hideaway and in her “Cuban Hill Buddy Lester (whose trumpet wrote the MiUer notes merely as a 1ton Presents LPs. However, these represent a completely new ap Billy” number) to the serious. The routine is one of the funniest mu ’FA«" I sample for size, not as final copy, 1 latter is exemplified by her dra sic stunts in the business) and Iceland Gives Warm Oldies. and that RCA printed them any- 1proach. Ci eighth how. Instead of the musician talking matic treatment of La Macarena dancers Toby and Luis Barranco. about his music (a la Contempor (the “bullfighters prayer”). Hello For Molinari RICORDI* With rare exceptions, record ’ As a singer, she tends toward the polkas, companies are not utilizing the pos- ’ary) or an essay on jazz, you have New York—Accordion virtuoso novelties sibilities of album jackets. They a1 capsule psychoaiudysis of the strident, but in her offerings, her delivery is of far more importance John Molinari was extended a Sprinrñ have gradually become hip to the !musician in which you discover, for Birdlore warm reception when he recently instance, that Claude Williamson sales appeal of a snazzy cover pic- ' New York — According to a toured Iceland in a series of 12 GUITA RIS ture or design but are still missing has‘ “the kind of finely drawn sen dispatch in the New York Times, concerts. Three of Molinari’s per Select ioi the boat on possibilities for the sitivity• which gives him a sure and Pete Rugolo Professor Charles Hartshorne re formances were given in Reykja ton, Mi< back cover. incisive awareness of the emotions (Jumped from Page S) cently told the American Orni vik, the capital of Iceland, and al) Album notes, especially in the of those around him.” week thing. Columbia is behind the thologists Union that ‘’birds that were sell-outs jazz field, can stand and should There is more, but you do not band with the support of a five- sing one short song repeatedly The remainder of the tour cov find out who Claude Williamson is. serve a definite purpose. To begin year record contract, and we have are silent about 70 percent of ered the larger coastal towns and UARN Fl with, they can lell jou who the I could be wrong, but I don’t think a fine managing team — Gabbe, the time. More than a hundred inland agricultural centers. Some Karl Ba musicians are, where they come the psychoanalytic approach, as Lutz, and Heller—that also man kinds af birds with a wide va of the people traveled for miles to Ind. from and what they have been do taken by Dr. S. W. Kenton, the riety of aongn »ing dhno«l ron- attend these concerts. author of these words, is the right ages Liberace. WIND IN! ing in addition to offering com “Of course, with this size band, linuously.” Orchesti ments on Hie music itself. one. you can’t be thoroughly certain of “If the bird world 1« anything easily? I’m a great believer in the foot Classical Statistics Overcon! A good illustration of how rec- the future. But I want to keep a iike the music business,” com ERICH 3rd companies fail in thia respect ball program. You, know, “You mented a late evening bird trol. W can’t tell the players without a band of about 20 men going. I don’t New York—According to a re is on the current otherwise excel want to cut down. If I have to cut watcher, “the birds that know cent BMI survey, radio stations today. £ lent Mundell Lowe RCA-Victor LP. program. Names, numbers of all how to sing only that one short ERICH. the players.’’ down, then I’ll quit because what throughout fhe United States use Nowhere does it tell you anything ' I’m trying to prove in terms of song repeatedly are quiet 70 an average of 6.9 hours a week of a bo pt Mundell Lowe. Instead sound and musicianship requires a percent of the time for a very classical music. And the National there’s a brightly written essay ou sound reason. It’s probably be full complement of musicians. Music Council has reported that MST OFF the music. New Dance Method “One last thing I’d like to say is cause they’re so popular, they there are 938 symphony orchestras 105 oris This is all well and good—but an answer to those who claim that can’t afford to go into extra tax in the United States, 84 of which rey Fisi Madison, Wis.—George Forrand, there are many disc jockeys (who I sound like Kenton. It is true that brackets.” are major professional groups with mi gu will play and thus help to sell the a former studio dance instructor, 1 voice a certain way for brass, annual budgets exceeding >100,000. Box «41 LP), many reviewers (same com has come up with a new teaching but that’s a way I’ve written nat ment), and a host of potential pur method using (1) a sliding guide IF ITS N urally all my life. Lewin chasers who might like to know which has moving footprints to Be «Top Pianist! Modernize! wood I “Sure, it’s going to sound in NIGHT NEW FOOKS-DY Hollywood's who Mundell Lowe ia and what ia show where the feet should move places like Kenton, but remember, interesting about him other than in a dance step, (2) phonograph TmcAmt af Frof*«ilon«l Fhnim I wrote many of those things that WANTID- the fact that he play" guitar AU records which are timed to the helped set the sound of the Kenton ARMED the host of new friends jazz has individual step; and (3) camera etc. by are not yet walking discographies. shots, showing dance instructors band. In certain respects, I’ve been writing ao long in my own idiom Vienna. RCA blew this one, as it has doing the steps the student is that I can’t change.” others. But it is not the only of learning. fender. Capitol is just as bad, and Designed for home study, the in FO Mercury and MGM are worse. structions come in three sets — AN IDEA FOR YOUR NEW CARD Everyone has complained about waltz, foxtrot, and swing—and are in IM raprMlwliMB W MM DOM1 Bt^T IT! 12/6-12, Ue hold one whole year rumenta) etz, Stun (Copa Casino) Buffalo, 11/3U' 12/5, nc; (Tia Juana) Baltimore, 12/ your Down Beat s, 26 is Rhythm. Gillespie, Dizzy sues. These attractive Out 11/21, nc LVENUE 11/22-12/5, nc binders are constructed K. J. Gilmore Quartet, of heavy-weight board and are covered with dark blue, drill quality, 11/21, nc Hall, Rene imitation leather stamp 11/20, m lasser, Don (Peabody) Memphis, Out Harris, Bill 11/28, h (On Tour—South) GAC ed in gold foil. Each is ray. Jerry (Palladium) Hwd., Out 11/ sue is held separately and Blair, Buddy SeCUn HOS Funteble ( Birdland) tho backbone for volume ! Freeway Plenty of room on number and year. Copies can be inserts J conven iently. Order yours NOW!! l'anadu. nul 11/23. ne; (Frolic.) Co Lejeune) lumbus, Ohio, 12/3-12, nc James, Harry (Ambassador) L. A., 12/1- Beverly. Mans., n< • Single Binders. $3.49 Postpaid » NYC, 11/18-12/8, nc; (Town • Two Binders...«. $6.49 Postpaid 12/13-19, nc SAX Los Chavales (Jung) New Orleans, 11/23 •rti«t 12/13. h r jazz ritwd^ ■INDERS Md—1.3* Texas, Out 12/16. h DOWN BEAT, INC. *od with Lombardo, Guy (Roosevelt) NYC, It ccr.d Long, Johnny (on Tour—Chicago ti 2091 CALUMET AVE. CHICAOO 14, ILL. (Radi son) Minneapolis, 11/25-12/2, t Mulligan, Gerry (Haig) L. A., nc Murphv. Turk (Three Dolls) Milwaukee. 11/16-28, nc Kay I Pnrker Combo, Howard (Trade Winds) Ellington, Duke (Basin Street) Ralph 11/30-1/2/55 irrgWHtn, l>nnn> (Robert Driscoll) Freddy ( Out 11/2' (Phillips* Petro Okla.. 12/15-18 Qiieatloü Marks (Flamingo) Ontario. Out 11/20. nc; ( Addrau Fisk. Charlie (Palmer House) Chicago, h May Band. Billy Ham Donahue, Dlr. (On phy Room) Massena. N. Y, Fitzpatrick, Eddie < Mapes) Rrno, Nev., b Flanagan, Ralph (New Yorker) NYC. h Mooney. Art (On Tour—South) GAC; Redhead» (Balinese Room) AFO of FPO Foster, Chu<-k (Ani Station) Norfolk, Va., 12/7-11 Texas, 12/7-20, nc 2/18/55, b Kuss, Fort Worth, Texas/ 11/ (tarber, Jan (On State ana) GA<’ Buddy (On Tour—South) GAC George, Chuck (Tr¡ King (On Tour—East) (12-1-54) Texas, Out 12/25, and be sure... Only a ^elmrr Can Do So Much for Your Playing PROOF: Listen to Paul Deimul and his brilliant Selmer Saxophone on Dave Brubeck's “Jazz at Oberlin" (Fantasy #3-11) Paul Desmond has played a Selmer (Paris) Saxophone for 1 3 years. As you listen Io his imaginative playing you will know why Selmer is his choice. For no other Saxophone you've ever heard has such rich, vibrant tone, such ease of playing. Nor does any other even come close Io the velvety-smooth key action and superb intonation that is yours with a Selmer. Surely, a Selmer is the only Saxophone for you Be convinced. Hear it played —then try it yourself, now...at your Selmer dealer's! H « inc. ELKHART, INDIANA H. * A Salnwr. Inc. Dap* Cl 21 Elkhart Ind.ana FREE— colorful. illustroted bro- Reo». tend my copy of your free brochure describing the chur« describing the many features new Selmer (Paris) Mork VI Saxophone el »he new Selmer (Paris) Mork VI Sa sop hone Write for your copy today Name Addr.« City______Zone _ State______RECORDS HIGH-FIDELITY rINSTRUMENTS FILMLAND UP BEAT RADIO • TV 7au P The brightest star on the accordion horizon "hitches" his talent to another star—SETTIMIO SOPRANI. Dick Contino echoes the world-wide recognition of SETTIMIO SOPRANI accordions at superior instruments ... built to withstand the rigorous treatment and to meet the tonal demands of a busy and exacting artist. Available soon, too, the new Sottimio Soprani DICK CONTINO MODELS. BELL ACCORDION CORR IIS E 23rd Street • New York Exclusive Distributors: Settimio Soprani • American Bell Cellini Products December 1, 1954 Down Brut — rari 2 How The Accordion Has Become So Important In U. S. Music Scene By Hannah Alfbash tentiul of the accordion in ar. irchestrn were Paul White man and B.A Rolfe, who employed accordionists 25 years The accordion, at one time a much neglected ago when radio was in its beginning stages. The inatru- instrument, has beconje an important part of the (Turn to Page 8) American musical scene. The instrument has ex perienced a phenomenally rapid growth during the past decade, particularly during thi post-World War II era. Although the accordion had long held a position of Association Names First importance in foreign countries, particularly in Europe and South America, it was not until the middle '30s that it became more widely used in America. But it was still Nat n I Accordion Week regarded with some skepticism in music circles. Today this former stepchild of the instrument family Perhaps the finest feather in the cap of the is finally convincing the experts a well as the general American Accordionist Association was the ini public that it’s more than n a ueeze box or a “ferry-boat” tiation of National Accordion Week. The A.A.A. nstrument; that its -jund is as “musical” as any tone certainly is the largest and strongest accordion organiza being produced an other established instruments; and tion in the country. Its membership includes teachers, that it can be adapted equally to the classical, popular, students, manufacturers, publisher., etc, .ill united to and jazz idioms. further the accordion. Their contests in Vew York and The general usage of the accordion fir»l Marled to Chicago both excite and stimulate accordion students to expand 35 years ago, when the piano keyboard win added develop their talents. Constant pressure diiected at the Io it. However, there were many handicaps the instrument manufacturers to improve the accordion can only be had Io overcome at the outset. First the matter of size brought about by the concerted action of a formidable and weight hampered is progress. Thr large, bulky in group like this presided over by Eugene Ettore, whose strument had to be streamlined and made available in dif officei s have provided the assistance needed for such a ferent sizes In suit the individual user. Uso, the early strong movement. accordions didn't have facilities for varying tonal com The Accordion Teachers Guild, made up entirely of binations, .tnd were limited to the particular type and teachers, also spreads the good word around, and under number of reed sets which happened to be built into the leadership of Anthony Rozance from far off Texas, them. we find examples of their work throughout this country Another handicap proved to be the lack of accordion and Canada. teachers. Progresr nere was slow, but through the years Anthony Galli-Rini acting as emissary for the A.T.G. an adequate number of teachers evolved, many of whom on his recent European concert tour, let those countries have bad their basic educatim in leading universities. know what we were doing here to further the accordion. There are now more than 5,000 schools and private Of course, Tony brought back some infoimative facts studios of accordion in the U.S, each of which employs about what our European brothers are up to two or more teachers. The Chicagoland annual music festivu' does mucl to Another factor which has delayed the universal ac promote the accordion—especially accordion bands. And ceptance of the accordion hu I been the bick of sufficient we must not forget the annual A.T.G. Workshop held in proficient accordionists. Until recently (here were few Chicago this year. A large attendance made everyone recognized accordion artists- Currently there is a targe happy to know that so many came from so fat to learn. and ever growing number of accordion virtuosi. These The huge Wisconsin Accordion Festival held in Mil artists have elevated the accordion to new heights az a waukee this past summer, enticed dost to 1,100 students, solo instrument as well as an integral part of varied and their solos and accordion bands made music that, instrumentations. fairly rocked the Schroeder hotel. Activities of this sort But even in its beginning stages, the accordion found are what we need. Undoubtedly there are countless small accordion organizations doing an active job that we don’t some advocates, several of them in “serious” music hear about. Will these groups kindly let me know what circles. Its earliest recognition in the classical field came you are doing so that in a subsequent issue we can let when Tchaikowsky, who had heard the accordion fre readers know of your activities? quently on his visits to Italy, liked the instrument so much that he included it in his Second Orchestral Suite, Opus 53, scoring for four accordions in the humorous Italian Accordion Plant Scherzo movement. In contemporary music, the accordion ha* been utilized by such composers a« Alban Berg, who added un accordion Subject Of USIS Film part to hi* opera, Wosseck, in 1922. Virgil Thomson has Elkhart, Ind.—A film crew from the United States in used the accordion in Four Saints in Three Acts, in Acadi formation service will soon be paying a visit to Castelfi- an Songs and Dances, and in louisiana Story. Thomson dardo, Italy. Once on location, the cameramen will pro once staled that he wrote for the accordion beenuee hr ceed to I'ecord the way things are done in Italy', newest wanted an instrument that would play loud and provide accordion factory and how the workers pursue their way a real tone. He therefore substituted the accordion for of life. Scene of the movie will be the Accordiai la factory, the piano. He uko felt that it was small und did not lake a division of Excelsior Accordions, Inc, of New York. up much room iu the pit. This firm is the only accordion factory m Italy that is wholly owned and controlled by an American company Marc Blitzstein included the accordion in The Cradle which specializes m accordions. And this fact iccount-. Will Rock; Henry Cowell wrote a virtuoso piece for for the r eason USIS selected Accordiann for their movie. the accordion, Perpetual Rhythm, and Paul Hindemith The film is designed to become part of the state de- included an accordion part in his work entitled Kam- paitment's campaign to demonstrate how American cap mermutik No. 1. Opus tl. Darius Milhaud, on the other ital investments help foreign countries attain greater hand, divulged that he had never written a composition prosperity It will show how the community as a whole, for the accordion except where it was necessary in the and also how the individual worker, leads a better life and -core of French motion pictures. If there was an accor enjoys a higher standard of living through American overseas investments. dion on the screen, a part hud to be inserted in the score Afte' it is edited and printed, the film will be shown for it. in the United State- und other western countries to stim In the popular music field, the first to realize the po- ulate foreign investments. Down Beat — Part 2 December 1, 1954 On, Viacoasia ...... ( Purdy-Galla-Rini ) Orchid» ia tha Moanlight ....( Yaumenta-Nuotalo) ...... --(Norin) Orphea» ia Haden, overture (OReabeah-Nuaelo) ...... (FHmLDalm) Solos For Our Director March — ( Bigelaw-Krachtu* ) (Straues-GoUa-Rini) Our Lady of Fatima ...... ( G oil ah on-Nunai o ) Reae Fntlave» the Nightingale Our Volta ...... ^...(Rooe-Magaaate) ...... ( Riarnky-Kwreakev-Geila-Rini 1 Accordion Over the Hill ...... -....(Martin-Ed ward* ) Over the Vavon ...... ~...... (Rosas-Deiro) (D^eat) (Jumped from Page 2) Panna dndaia Cherek .(Dombhowski-Edwards) Paper Doll ...... ( Blaek-Nunaio ) ..^De Roea-M aguanto) •ferry Widow Waits ...... ( Lehar-Deiro ) (ffoemheld-Delra, Jr.) Merry Widow, eeieetian ...... (Lehar-Magnante) Parade of the Booden Soldier» .. ( Jeseel-Deiro ) Mosirali Rose ...... ( Tenney-Krachtu*) Parade af the Vaedon Soldier» Miami Neneh Khannha ——..(Fiel da-Deiro, Jr.) ...... -...... ( Jeeeel-Magnante ) Rus tfa •/ Spring ( Mading-Delro » Midnight Volga ...... ( Donald»M-Nunaio) Pavanne -...... ( Gouid-Galla-Rini ) Minuet in € ...... -...... < Bee th oven-Deiro) Peanut Tender, The ...... ( Simons-Deiro ) Sailing —...... ( Heilst rom-Jnrl j Minuet ...... -...( Mosart-Marvin ) Penguin» an Parade ...... (Williams) Minuet ...... fPaderewski-Deiro) Penthoate Serenade ...... (Burton-Mayer) I Hand «Magnante) Minuet ..... -...... (Paderew^i-Krsehtu.) Perfect Day ...... (Bond-Deiro) ...... (Bortoli) Miautet Vith Magnante/ Minute Volta Perpetuai Motion ...... (Magnante) ...... tQiapin-Magnante) Perpetual Motion ...... ( Paganini»Deiro ) MìmouH Balta ...... _( Logan-Damon te) Petite Balta ...... (Heyne-Gold) Momont Metical ...... (Schubert-Lane) Pied Piper Step» Out ...... (Sedion) I Kabalav*ky-Galla-Rini ) ’foments tei th Ttehaikoutky ______(Magnante) Pietro*» Betam ...... (Deiro) Wood Indigo ...... ( Ellington-Galla-Rin i) Pilot*» Walts ...... (Lindstrom) . ( Romini-Deiro ) Moonlight and Bonet ...... ( Moret-Nuaxio ) Pink ¡limona ...... ( Dusse ye-Ed wards) ...... ( Sou »a-Marvin ) Morning Noon and Night, overture Play, Fiddle, Play ------.... -...(Altman-Deiro) ...... ( Boskerck-Deirò I —.—...... 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EASY FOLIOS •First Slops in Bellows Shako All Alone Easter Parade Russian Lullaby EASY TECHNICAL I've Got My Love STUDIES Remember 'Catholic Hour To Keep Me Warm •Bass Solo Primer Oh How I Hate To Get Up •Big Note Velocity In The Morning You're Just In Love •Uraol Folk Songs Í Dances •21 Little Etudes They Say It's Wonderful •Practice Made Pleasant •Big Noto Speller easy version with lyrics SI.00 White Christmas Always Easter Parade The Girl That 1 Marry Get acquainted with these and thousands of Marie They Say It's Wonderful other folios and studies by requesting Catalog Blue Skies DB sent free to readers of Down Beat Alexander's Ragtime Band Remember A Pretty Girl Is There’s No Business Like A Melody Like Show Business O. PAGANI A BRO., INC. Writ* toe 289 Bleecker St New York 14, N. Y. IRVING BERLIN MUSIC CORP. 1650 Broadway New York 19, N. Y. December 1, 1951 Van Damme Special irt tan Damme wrote thin »peculi bit of munie for Follow tlù» inaue. Try it out on your accordion for nice. Cliff Scholl Accordion In Down Beat Look to the stars, al home and abroad, and you II find them playing TITANO. For tomorrow’s improvement* are on TITANO today .. assuring you a rare combination of style, tone and response. Play TITANO and you will truly be ordion field The famous CONCERT TRIO now appears exclusively with TITANO Accordions. Today! See your TIT ANO dealer for ■ thrilling demonstration at no obligation write for free copy of the new TITANO catalog,« cordi laid i dion i It ’ This aroun only i it stil aroun ning, I hap Cavia is so < I st By th as a i classic studic teach« I s classi onists of yei Yoi have know It’s h done i But ecute live J ately. 1 icon But was t a bun to sit VOU V So and g ers o jazz i teach found on ac could Th< made limits dom 1 If yoi what if yoi with left li notes sible. accori compì can f Thi any o troni these I m December 1. 1954 Down Beat — Part 2 7 Art Van Damme Tells How Big Field For Accordionists Has Opened Up By Art Van Damm« Any youngster wanting to become a jazz ac cordionist today is entering a field with limitless possibilities. Although the instrument is still not us widely used us others, enough groundwork has been laid in the last 15 years so that the idea of jazz accor dion is no longer considered a strange one. It wasn’t that way when I broke into the jazz field. This n:ay make me sound ancient, but when I started, around 1938, there was nothing happening. The accordion was very backward so far as j'azz was concerned. It’s only in the last few years that it’s been recognized, and it still isn’t a broad thing I first became interested in accordion when I wa» a kid of 9, back in my home town of Iron Mountain, Mich Mt folks had some old records by Pietro Diern around tne house, and after listening to them, 1 decided I wanted to play accordion. I was lucky from the begin riing, because, although this was a town of only 4,000, I happened to get a good teacher, a man named Pines Caviani. That’s the way it goes. Finding a good teacher is so often just plain luck. I studied nothing but classical accordion for six years. By that time, though, I knew I wanted to make my living as a musician, and you can’t do that, even today, playing classical accordion Then we moved to Chicago where I studied with the late Andy Rizzo, a great uccordion teacher. I started playing popular music, but I kept on with classical. That’s something a lot of beginning accordi on i sts won’t do. They want tu play jazz after a couple of years’ ntudy. You can’t do it. You must first master your instrument, and you must have a thorough grounding in the classics. You should know harmony and you should ntudy composition, too. Art Van Dumme It’s hard to say how long this will t'lke, but it can’t be instruction to be had. There are, however, a lot of good done in less than u five-to-10-year period. accordion teachers around today, and I think it is because But if you do this first, then, when you want to ex of them the field has come as far as it has. ecute a naiticular figure or run tha* comes to mind in Today there are probably more kids learning accordion live performance, your accordion will respond immedi than any other instrument. This demand has resulted ately Remember, when you strap that accordion on, it in more, and better, accordion teachers. Today accordion becomes a part of you. students learn such things as harmony and composition, But, getting back to when I started playing jazz, it and when they enter the jazz field, they have the round, was unheard of at that time. You would go around with musical footing that enables them to master the idiom a bunch of guys, listening to different combos an want One thing that’s still badly lacking, though, is good to sit in. The minute you mentioned you played ac rdion instruction books. I will say flatly that, in my opinion, you would get blown off real fast. there isn’t a single, good accordion instruction book on So the only thing I could do was listen to other pie the market. This >8 probably the most urgent need in and get ideas from them. Remember, there were n ach- the accordion field—classical or jazz—today. ers on iazz accordion in those days. For that tter, There’s still, too, a great need for wider acceptance of it’s still pretty much a self -taught thing, but th ost the accordion as a jazz instrument. It’s no longer con jazz musicians, no matter what their irstrument, e to sidered a freak instrument in jazz, but it’s still not as teaeh themselves. common as it should be. The reason is just that there I tried to pattern inyself after Benny aren’t enough good jazz accordionists around. found that certain figures he would play could be yed Dick Contino, for example, is a fine accordionist and on accordion, th.it good jazz phi a«'ng on any ins ent a nice guy. But what he’s doing isn’t helping the accor could be executed on accordion. Then why wasn’t it ayed dion as a jazz instrument. After all, he plays in the as a jazz instrument? conventional style for accordion, and has never claimed The principal answer lies in the way the accordion is to be a jazz accordionist. made. The bass structure of the accordion pretty much But the taboo against the accordion in jazz is gone. limits the left hand to playing rhythm, without the free And with more kids getting good schooling on the instru dom to co ordinate fully with the right hand, as in piano. ment, and with the field opened up as it is now, it If you play oomcha bass with your left hand, it hinder» shouldn’t be long before jazz accordion is a commonplace what you’ix trying to do melodically with your right And If I were starting out now, I’d «.ludy as much classical if you’re playing with a rhythm section, you interfere work a» I could I’d learn my instrument as thoroughly with them. as jiossible, I’d join the high school band, and I'd lister, I play almost no rhythm. Instead, I try to keep my to records Anything by Joe Moonev, for his wonderful left hand as unencumbered a my right, playing single taste and for his ungle note work Ernie Felice too, for notes und weaving contrapuntal pattenis as much as pos chord work Then I’d form a small combo and it in with sible. I leave rhythm to the rhythm section, because jazz jazz musicians, picking up ideas from them. That's the accordion differs from jazz piano n that it must be ac wav it’s done. companied by a rhythm section. It'- the only way you I’m firmly convinced that, because of better teaching, can free yourself of that oomcha. * jazz accordion players of tomorrow jre going to be much This is no different from jazz clarinet or trumpet or better than today. The groundwork is there. There’s a any othei instrument that solos against a rhythm back place for the instrument in the jazz field. And, thanks ground. You couldn’t give a solo ,azz concert on one of to the advances of the last 15 years, one thing is certain: these instruments, and you can't on accordi »n, either. When you strap on that accordion, you don’t have to I mentioned before that there isn’t much jazz accordion’ play O Sole Mio. Down Beat — Part 2 I lecem ber 1. 1934 Derviub. How Accordion Grew In America Sol (Jumped from Puge 3) dion firms. nunt is now particularly popular with small comboa. The aims of the A.A.A. are, among other thing*. in where its vercstility and full sound are most valuable. encourage performance and accordion development; I«* Ac< With the advent of television, small groups with the ac elevate the standard* of teaching; to offer award* for cordion are widely sought. Most frequently, little space exceptional ability in it* national contest«, and, in gen. is allotted for large orchestra, and a small group is more erul, to further the elevation of musical standard* of the advantageous both in price and space lequirements. And accordion. approximately 75 percent of the small group'« use uc- The present National Accordion Week is sponsored by cordions to amplify their sound. the American Accordionists’ Association. The purpose <«f this special week ia to make the American public taaasa, o,... Latin American orchestras, too, are aware of the im portance of the accordi< n and are making excellent use awuie of {he accordion as an instrument and its po Xmiiuiin of it. The accordion is often one of the basic instruments tentialities. It’s sure to meet with an enthusiastic re of the tango, rhumba, and mambo. ception. In the jazz field, such artist« as Ernie Felice, Miltun Since Damian invented the first accordion in Vienna in 1829, the accordion has slowly but surely been devel Vopkia licol DeLugg, Joe Mooney, Art Van Damme. Mal Mathews, SopAigtirol and Leon Sash are bringing new appreciation for the ac oped from its modest beginning to an instrument of cordion. rhnHidi word,, mmi<— and TV app< »riin ACCORDION WORLD MAG AZINS—Teacher.Dealer edition; Student's Accordion World; both monthly, helpful, educational, newsy. In U.S. Th* "ONE-STOP" source for the bos* in Alto STUDIO AIDS, samples on request. Mt. Kisco, N Y. MUSIC FOR ACCORDION ACCORDION INSTRltTORM JOIN THE AMERICAN ACCORDIONISTS ASSN. I he wor ld s largest agents for accordion Prestige is added tc the teacher who has uccessfully music published bv ALL MAJOR PUB obta ned the A A.A. Certified Teacher Certificate; . . . LISHERS! Students and parents now ask “Are you certified?” Its use in your ads is a stamp of approval. Publishers of the famous AMPCO EDI SEND FOR iNfOKUATION TODAY ADDRESS Din. D. *. TIONS . . . the finest teaching material 289 Bleecker St available anywhere in the world. American Accordionists Assn. New York 14, N. Y. Publishers of thr Pietro Deiro Conserva tory Courses ... 6 individual courses cov ering all grades . . . complete with Meth ods. Study Albums and Graded Pieces. Our big new catalog DB lists over 1.000 ac cordion music publications. If you haven’t already received your copy, write for it today ’ FREE! THE ACCORDION LOSES ITS CHAINS WITH THt NSW BONVICINI ELECTROCHORD ' fka acc.rdla. »f fewm*" New York Agonit for International, Ura, * Ne -nor* ohyical 1st que Fnito ...... (Floren) Ver to dune ...... ( Dodworth-Marebi) ...... (Magnante) Victory March, Notre Dome ....( Shea-Kraehtua) ( KKaahatuHan-Gala Hint ) Vido, Le ...... ( Anton inl-Magnante) Sylvio ...... ( ika-Deiro ) Sympathy — ...... -...... ml-Delro) Symphonic Morth ...... «..._ ...... (Frosin! I Accordion Symphony No. E, firat movement Sol/eggietto .....< Baeh-Magnan to) ...... ( Ellington-Tito ) Solitude ...... (Will lama) . ( Gershwin-Carreno ) ■Somebody Lovoa Mo ...... Tele» from the l tenne Wood» (Strnuaa-Delro) (Flindl-Galla-Rinl) .....( WoAd-Nundo) Sontobody Stole My Gel Talea of Autumn ...... (Tarali!) ...... ( Buaee-Delro) Some Enchentod Evening ..( Rodge rs- St oiler ) Tango of the Rotei ( Sahreler-Bottero-Deiro) War»au Concerto ...... (AdcHnaell-d'Auberge) . ( Brook»-Krach ins * Tenn hunter^ march ...... _...... ( Wagner-Deiro) WoaAington and Leo Swing ....(Shoafe-Nunalo) blie . ( Wagner-Deiro * Wethington Pott March ...... ( Souea-Galla-RIni) ...... (Magnante) . ( Sayers-Marvin ) mans-Magnante) ...... (Arlen-Mayer) .(Gavianl, arr.) . (Marvell-Sedlon ) They Didn’t Believe Mo ...... B hen You Wore n Tulip (Wenrleh-Galla-Rinl) B'hippoortrill Balta < Dusaaye-Edwarda) South Side Gelop Ne Thought ef Love ...... —...... Spagnolo. Le ...... TAroe O* Cloth in tAe Morning W hiapering ...... ( Roae-Galla-Rinl) Sparklet» ...... WAiepering Hope ...... — .(Hawthorne-Miners) .. ( Sousa-Marvin ) Whiatling Moae ...... ( Hoffman-Sedlon) ...... —...... (Cere) SporltliPb ...... ( Abreu-Gaviani ) White Donkey Polka Speed Ring Morth ...... ( Johnson-Marvin ) ...... (Magnante) Spinning Song ...... ( Elln>enreieh-Galla-Rini ) Spirit ef Victory ...... ( Huffer-Dona th ) Springtime ...... — B ilmington Polka R indy River Polke Starlight Schotticehe ...... (Wellington) Winter Sporte ---- Star of the ItH ...... < Kenned y-M a rvia ) Stars end Stripe» Forevei (Sousa-Scholl) With Ini formt and Colera Start end Stripea Forever Wonderful One ...... ( Sampson-Magnante ) ...... ( Arlen-Srholl ) Waodt of Finland .(Von Flotow-Dero ) ...... ( Apparati ) Stuff and J hingt . ( Bowman -Mannan te I Stumbling ...... ( Dunn-Caminl) Sudatory in Sudan Young Prince and the Young Prince»» Sugar Bluet ...... ( Rimak y-Korea ho v-Nunaio ) Summer Daya ...... Your» ...... -...... (Roi« Nunaio) Y our a la Mr Hoort Alone ...... ( Leh a r-Carreno) Swallow The/Lu CeL Yon Wore Meant for Me ... ( Br o we-Deiro, Jr.) Swaying Goldenrod Swoethour of Sigma < Sweet Reale O'Grady . ( Chopin-lie! re ) . ( Jacob-Marvin ) ( Margis-Delro ) . ( Sibel lue-Del ro ) JOHN MOLINARI THE WORLD'S LEADING ACCORDION CONCERT ARTIST "IT'S NOT ONLY A GREAT. NEW CONCEPT OF ACCORDION DESIGN. BUT TRULY TODAY'S LAST WORD IN DYNAMIC 'NEW SOUND." MR. DEALER A remplet« Hm et GIULIETTI sad JG Accerdlent I« available on a Protected Molinari play* tha Giulietti Super Chamber Model Accordion Exclusively GIULIETTI ACCORDION CORP to and diagonally one button away from G bass. This change of letter names ia called an enharmonic Accordion To Scholl interval, even though the pitch remains constant on a fixed keyboard instrument such as ours, the piano, and By «iff Schon the organ. A piano with a quarter-tone arrangement of keys was designed by a German some years ago, but was We all know how to make change when >ur wallets impractical because even the most interested artist would are open, but can we handle an enharmonic change? Too have to devote too much time mastering its complexitiea. many accordionists are flabbergasted when they are sud Most accordion bass charts neglect the enharmonic denly confronted with a bass solo passage that requires change probably because the new student may become descending u half step and when' the letter names are discouraged, and also because moat of our accordion mu not the familiar on Words ond Minn bf CLIFF SCHOLL IRVING BERLIN Introduction (optional) ad lib. \fjWssibln) ULTRi SUM Rnlffaad R •acrlffciaq ■ Rawer, Le Bocamatic •H* ^edul Of materiel« B.S. Ie Been Si Chorus (not too fast). botar» der z “ if possible) See, v. Sri ordì» e crop kiss den I seem sweet love. Ulm orderin .Ol ond acm » de> that * iHont Writ. 54 1. 1954 Part 2 ne nd of Down Beat Accordion Po l In preparation for your use la a handy, pocket-sise bass reference chart lid which will be sent free Io any interested readers who ftM out the questionnaire below and enclose stamped, seif-addressed envelope. Mail to Cliff Scholl, lie I’HOHSSIONAI and 2 Oak St.. White Plains, N.Y. ne m »1 < A M ATH I prefer (type of music) : i would like to see more accordion band iy, he Popular, current______music made available. Yea. -No ny ACCORDIONS ire Popular, standard* I belong to the______t. Classical ___ to accordion club, located ii •os Country and western____ Polkas______I would like Io participate in a national Religiou* ------and/or local______accordion contest. Teacher’» name und address 1 think present accordion arrangement» arez Too difficult __ I Too easy ULTRA MODERN MS’®" Name. ’ - ‘ ■ItT iddrea* WcrMcIsq «ynphoalc toaa aad Dyaania for the ultimate elth special roads aad asacHaq sele«tlea «f matarloh. in easy aaKtoadlaq. s»d»Uvs automatic Bras. Profassioaol aad Dacamallc Accor- YtW repair parts Mat Math»*« and ACCESSORIES himoin Corel and CATALOG Brunswick recording Accord loa. Ildar that will milt you la customer re- gm_ M»- X I " LO DUCA BROS ?MlS' WB! NORTH «VI M.WAURfl WISCONSIN Candid camera shot of Arcari rehearsing with Philadelphia Orchestra for concerts given on January llth and 12 th. EXCELSIOR ACCORDIONIST MAKES HISTORY IN DEBUT INSTRUMENTALIST WITH MAJOR SYMPHONY ORCHESTI It's no longer considered “unusual" for performer, to the conductor, and to I HEAR ANDY ARCARI IN PERSON! Hailed by critics as one of the an eminent accordionist, such as Andy composer. We of Excelsior are hupp* most accomplished and most versatile Arcari. to appear as guest soloist with a have played a part in the developing of artist accordionists, Andy major symphony orchestra. Arcari, him of the instrument itself... an accorcl Arcari may be heard this season in concert appearances in self, has done so on several occasions. of such unusual tone and ven»atilit| eastern cities. But — for an accordionist to sit-in has inspired the artist to greater * with the other instrumentalists of the complishments in the music world orchestra, contributing a variety of new The accordion used by Andy Area tonal colors to the rendition, is big news is the 3rd dimensional Symphony Gn» indeed! finest of the new Excelsiors. For desji This latest milestone in the progress tive catalog, w rite Excelsior Accordik of the accordion is truly a credit to the Inc., 333 Sixth Ave., New York 14, N. EXCELSIOR ACCORDION 11700 with