DOWN

RECORDS HIGH-FIDELITY INSTRUMENTS FILMLAND UP BEAT RADIO

Pete Kelly's Blues See Pages 8, 35 HALLMARK will pay

to LES BAXTER'S Song Moró&a

* AN ALL-EXPENSE TRIP TO HOLLYWOOD and * CO-COMPOSER'S FUTURE ROYALTIES!

CAN YOU tell the story of “Monika"—a bad girl — in |ust so many words, to fit LES BAXTER'S music? The music is already on a CAPITOL disc! It's already published by STARLIGHT SONGS! But — without words! HALLMARK wants lyrics — good lyrics, for “Monika". HALLMARK will pay an all-time record price for them! TEN THOU­ SAND in cash, plus co-composer'$ royalties which could reach $40,000 or $50,000 more, plus an all-expense trip to Hollywood and appearance on a national TV network show. Open to profession­ als and amateurs alike Lyrics must be postmarked by midnight, Nov. 1, 1956. Winner announced during December, 1956. Get busy, get rich!

The

PHONE YOUR LOCAL THEATRE MANAGERS TODAY! GET FULL particulars from your local theatre which shows “MON­ IKA". Telephone your leading theatres right now. Ask for THE MANAGER! Learn if and when he expects to show HALLMARK'S sensational Swedish story of a bad girl, “MONIKA". Keep calling them for the play-date. See the HALLMARK movie, “MONIKA". Hear Les Baxter's brilliant musical score and title song. Get a copy of the sheet music, to guide you. Get a CAPITOL record to aid you. Fit lyrics that describe this bad girl to Baxter's music.

JUDGES — Let Baxter, Hollywood; Dr. Cleo Dawson, U. of Kentucky, Lexington; Steve Allen, New York City MAIL 4 YOUR LYRICS toi MONIKA Song Contest Dept., care — HALLMARK PRODUCTIONS, Inc. 9100 SUNSET BLVD., HOLLYWOOD 46, CALIF. « KROGER BABB, President Volum« 22. No. 16 August IO, 1955

A lot of bandleaders—veterans, rookies, or otherwise—could well spend an evening watching Lionel Hampton work This is a sian who has won a lot of N«ws and Fwatiiros honors, and has played in just about every RCA Has ’Secret' Jazz Plans spot where it's possible for a jazzman Institute of Jazz Studies Expands Scope to work, and he also has made a lot of Bo nah Minevitch Dead at 52 money, and I wouldn't be one whit ¡ur- Elliot Lawrence Cuts Mulligan Arrangements prised to hear that he has a good ;hare Dave Brubeck Answers His Critics of it socked away. Meet ‘Jazzman’ Jack Webb

The Genius of Art Tatum—His Music Evaluated Yet, to see him onstand, with his Marguerite Piazza Just 'Doing What Comes Naturally' big band behind him, you'd think he was Chet Baker to Tour Europe a complete unknown who yet had his repu­ Eli Oberstcin’s 'Bargain Records* tation to make. He works and he swings Tempers Flare on Goodman Sound Stage and he drives and he sweats. Peggy Lee Grabs Honors in Pete Kelly’s Blues And people love him for it. He's Full Page Jan Photo: Charlie Parker clicked a couple of notches over 40 now, and those one-niters don't come as easy D«portm«nH once you've seen it all, but there is Band Routes such unbridled joy in this man's eyes The Blindfold Test (Bill Russo: Part II) once he gets a pair of mallets or drum­ Classical Record Reviews Country und Western sticks in his hands, you know he is get­ The Devil’s Advocate (Mason Sargent) ting as many kicks as he did when he was Feather’s Nest (Leonard Feather) a kid working in Los Angeles whom hardly Filmland Up Beat anyone had heard about until Goodman High Fidelity asked him to join. Jazz Record Reviews If a crowd is particularly recep­ Perspectives (Ralph J. Gleason) tive, Lionel thinks nothing of putting on Popular Record Reviews a show that will occupy the better part Radio and TV (Jack Mabley) of two hours. And no one works harder Strictly Ad Lib than he when it's going on. At the vibes Barry Ulanov one minute, at the drums the next, then On th« Cover two-flngering the piano keyboard, he is Jack Webb, Peggy Lee, and Ella Fitzgerald are three of like a child on Christmas morning eating the stars in the newest jazz film to come out of Hollywood, candy as if he is afraid there will never Pete Kelly’s Blues. For a story on Jack, see page 8. The be anymore. He is a man who loves to play film is reviewed on page 35. music. And he shows it unashamedly. It's refreshing to see a man with such an attitude. And it might behoove a EXECUTIVE AND PUBLICATION OFFICE 2MI Calumet Avenue, Chlcagr IB III., Victory 1-0(10 number of leaders I can think of to show PUBLISHER. Norman S Wolter just a little more interest in what's EDITOR: Jack Tracy happening unstand. It pays off. EDITORIAL DEPARTMENT Los Brown, Jack Shar

Net Hentoft Auoclete Edito* Hennah Altbuü- Ec new-star choices. Eastern Advertising Ménager, (ob Pipar, Advertising Men like Nat Hentoff, Barry Ulanov. WEST COAST DIVISION: SIM Sani« Maelca Boulavard, Calli. iiOll»«ooChicago K, IH. Printed In old favorites were not faring too well, U S. A. Joh» Maha< Frinting Company Chicago. Ill non Intarao a» •acond-claM matter Oct. * UM at the poet office In Chicago, III., under and some new names were moving in. tha act of March 1, B71. Ra-antarad a» mcond-cl»M matter Feb IS. IMS Copyright HM p, Down Beat Inc., all toraigr. right* ratarvad Trademark Especially interesting to see is the 'agitiarad U S Patent Office On »ale every ether Wadnatday We cannel voting in the alto saxophone division, ba ra*poa*lbla for antolicited manu»cri pt» where Charlie Parker was practically an automatic choice the last two years. You realize what a void his death caused when yqu see the mental head-scratching some A MAHER PUBLICATION of the critics had to go through to name OTHER MAHIR PUBLICATIONS: COUNTRY AND WESTEBN JAMBORU; someone for the chair. UF MAT: RECORD WHIRL: RADIO Y ARTICULOS: BUIDAS; LA FAR. It's in the next Beat, on sale Aug. 10. MACIA MODERNA. MVIRAGK; ILABORACIONIS V ENVASM; RADIO T ARTICULOS CATALOGO*. LA TIENDA —jack tracy

AwguM 10. 1955 RCA Expands Institute Of Jazz Studies Jazz Program Continues Work, Growth New York— A major new project en­ titled “The RCA Victor Jazz Workshop” New York—Several important new steps have been taken in recent weeks by is now under way under the direction of the Institute of Jazz Studies, the non-profit association which, under the presi- that company’s jazz aAr Jack dency of Marshall Stearr i has been building its archives and expanding its plan! Lewis. during the past year. On June 28, at ■ press luncheon at by west coast sculptress Julie Mac Details of the plan are shrouded in the Ambassador hotel Louis L. Lord 1 *onald. secrecy, but it is known that the 'Work­ lard presented a check for $1,000 to Tin- Institute is still soliciting meni- shop" will afford an opportunity foi a the Instltut« on behalf of the Newport b ship. Inquiries may be addressed to number of young artists, some already Jazz Festival, which also is a nonprofit the ln..Jtu!e of Jazz. Studi , Inc., 108 RCA Victor contractées and others corporation. Waverly New York 11. N Y. newly signed, to indulge in experi­ The National Music Council, which mental woik. There will Ik* groups in­ represents vir.ually every music organ­ volving unusual instiumentation. One ization in the country, recently elected date already known to have been cut the Institute to membership. features Al Cohn with four trumpets Minevitch, 52 and rhythm. Bob Brookmeyer is also Several new names have been added contributing a number of ari angements to the Institute's Board of Advisors. and will be heard with at least two They include Dies In Paris different style combos. Garroway; Roy Lamsjn, an English professor at Williams college; Eric Lar­ Paris—Borrah Minevitch, America's Lewis says that the “Workshop” ef rabee, an editor of Hargers magazine; King of the Harmonica,’’ died on June forts will all be on 12" I Ps and will B 1- Skinner, chairman of the depart­ 26 of a cerebral hemorrhage. He was lie released at the late of one or two ment of psychology at Harvard, and • >2 years old. a month, in addition to the regular jazz releases. Minevitch, organizer and founder of the Harmonica Rascals was stricken in his automobile while driving. With him neai completed sets of was his wife of three weeks, the former every issue of Down Beat. Metronome, Lucille Little Taylor. He died in the The Record Changer, and numerous American hospital in suburban Neuilly. Maltby Heads other domestic and foreign publica­ Bom in Kiev, Russia, Minevitch came tions. A card index file with thousands to this country with his family at of references to these magazines is the age of 10. In 1925 he formed his Monroe Show being built by curator Robert George first troupe of 25 boy- ranging in age New York—Richaid Maltby whose Reisner. from 15 to 19, and trained them in dance band sides on Label hav trying to build a repertoire of jazz and classical num- enjoyed healthy sales, was signed as a historic collection of jazz memorabilia liers. The Harmonica Rascals became music director of The I aughn Monroe which may include the original manu­ successful overnight, appearing in vau­ Show, which made its NBC TV bow script of Louis Armstrong's book Satch- deville and night clubs. The act was July 19. Maltby wound up a series of iho, the original tenor sax with which a combination of musical dexterity and successful ballroom dates previous to Lestei Young made his first famous comic high jinks. the show’s debut. records, and a statu«- of Charlie Parker In 1947, Minevitch ended his active role as “King of the Harmonica” and moved to Paris. Up and until the time of his death, he had been producing motion pictui-es that made Paris. Besides his widow, he is survived by a daughter, Lydia. Ballroom Ops, Bandleaders In Joint Conclave Chicago — The National Ballroom Operators Association will hold it’s an­ nual convention at the LaSalle hotel here Sept 26-28 this year. First day’s schedule includes a joint meeting between bandleaders, bookers, managers, and anyone connected with the ballroom business. A separate ses­ sion probably will be held for territory bands in order to better consider the different operating problems they have. The recently-formed Dance Orchestra SOMt 35.000 PERSONS at I ended the rrienl Philadelphia Inquirer Music Fes­ Leaders Association will hold a meet tival, which presented u long list uf longhair and pop favorite«. Only juuman in ing on the 27th, with Les Brown presid­ ing. All bandleaders in the country who can make it are being urged to attend.

Dow ii Beul Lawrence Cuts Again New York—Memories of the fine Elliot Lawrence bund of i he late 1940.« were revived here last month when Sol Weis« NEW YORK of Fantasy Records cut a 12" LP with a 16-piece hand UN STAGE: Gloria DeHaven closed in Seventh Heaven assembled by Lawrence. und joined the NBC-TV show, Make the Connection, as a >y .Some of the original Gerry Mulligan arrangements fea­ panelist . . . Duke Ellington’s initial effort as u playwright li- tured by the old band were dusted off for this date. In uddi- is completed and ready for production. Duke’s play Mr. A is tion, Lawrence himself wrote arrangements foi another Mr*. Lane, a drama with music, may get its first showing Fantasy session cut here featuring the Honey Dreamers. at a country playhouse in the New York area later this Fantasy will also release some sides by the Sandoli summer . . . Eartha Kitt’s Riverside Drive penthouse apart­ Brothers’ group from Philadelphia, and a date by the Red ment was ransacked, and the burglars made nff with $32,000 Rodney quartet. worth of furs and jewelry . . . Songwriters Sammy Fain and Paul Webster have been signed by Ray Golden to pro­ 18 vide music and lyrics for Catch a Star, a musical which debuts at the Plymouth theater on Sept. 6 . . . Baron Timme Ro>«nkrantz, Danish nobleman und jazz critic, in town to Chi London House Adds Jazz line up talent for a Negro revue which he wants to take Chicago— Most recent room to announce u jazz policy back to Scandinavia for a tour. here is the London House, well known Michigan avenue ENTERTAINMENT-1N-THE-ROUND: louis Armstrong restaurant which heretofore has never had an entertain­ was feted at u big party celebrating his 55th birthday at ment policy. Basin Street, with Duke Ellington. Gordon Jenkins, Jimmy Due to the success of owners’ George and Oscar Marim- Dorsey, and numerous B'way celebs on hand for the cake­ thal’s Rush street club. Mister Kelly’s, however, they have cutting . . . Cafe Society folded suddenly, at least for the decided to put music in the London House, and will open summer, for want of a functioning air-conditioning unit; Sept. 12 with the Barbara Carroll trio, hope to follow with Terry Gibbs endured an uncooled weekend there before the groups like Joe Bushkin, George Shearing, and others of dosing . . . Cab Calio*ay begins u tour of the British Isles Aug. 22 m Glasgow; he’ll front a specially-assembled local that caliber. combo . . . Jimmy Rushing. Mile- Davis, and Bud Freeman Mister Kelly’s, meanwhile, continues to do well with its r were last-minute additions to the Newport Jazz Festival bill of local-lights Jimmy Bowman and Audrey Morris, while Johnny Hodges and Buck Clayton were last-minute both singer-pianists, plus singles like Ruddy Greco and subtractions. Full report in the next issue . . . Johnnie Ray Hamish Menzies. may be the first U.S. star to appear on British sponsored TV, via Sunday ut the Palladium in October. JiZZ: Bob Brookmeyer, now free-lancing in New York, has been writing for several RCA sessions; also, to his own Waring Troup In NYC Stand amazement, took part in a Stuyvesant Casino jamboree in New York—Fred Waring will bring his Pennsylvanians the same group as Zully Singleton . . Hear Me Talkin' to into Billy Rose’s Ziegfeld theater Aug. 8 in a musical Ya, jazz book edited by Nat Shapiro and Nat Hentoff. has presentation called Hear! Hear! The show will featu e gon«» into its second printing . . . Nat Pierce, off the road some new material, in addition to numbers with which thè and settled in town, will write foi Basie, Woody, and possibly Harry Jame® ... A remarkable new tuba soloist, Don Butter­ organization has been identified for some 30 years. field, will be featured on Five Impression* of Color, a new The Waring group, which includes 50 musicians and suite composed and recorded by Gil Melle for Blue Note . . . tertainers, recently returned from a tour of 185 cities in t he Latter label, almost exclusively on a modern kick of late, U.S. and Canada, and presented Hear! Hear! for a week will release two LPs recorded by George Lewis’ New Orleans at the Warner theater, Atlantic City, before coming to New band just before Lewis’ heart attack; also two LPs cut by York. After the New York date, which ends Sept. 4. thi y "»idney Bechet at the Olympia Theater in Paris. will again take off on a long cross-country tour. Gene Ammons switched back from r&b to jazz for a Pres­ tige date with Lou Donaldson, tri and Addison Farmer. Freddie Redd, and Kenny Clarke . . . Joe Ne* man made some more sides for Storyville using Frank Wess, Sir I harle- Thompson, Shadow Wilson, and Eddie Jone* . . . E wen Penning Gershwin Book Milton Hinton played a week with his own combo at Basin New York—Latest m the long line of hooks on musical Street . . . Cozy Cole and Tyree Glenn, now working on Ted subjects planned for publication next season is a work on Steele’s daily WOR-TV afternoon show, not only play in George» Gershwin, now being written by I) vid Ewen for the combo but also take part in the charades, and offer publication next spring by Holt. their views in the forums (on such vital topics as “Should men wear Bermuda shorts?”) . . . Tony Parenti will cele­ Ewen, author of several prev ious popular munie bio- brate his 55th birthday, his 37th wedding anniversary, and graphics, including a number of works for youngsters, has his 41st year as a professional musician simultaneously on been working closely with Ira Gershwin, the late composer’s Aug. 6. He’s presently working with his trio (Zutty Single­ lyricist brother. Probable title for the book is 1 Touch of ton, drums, and Frank Gillis, piano) at the Metropole . . . Greatness. Max Roach analbum, Gina I ollobrigidu Prc-ents Music by Minucci wood, Mass., and Aspen, Colo.—will feature the Symphony . . . Fred Lowery, the blind whistler, issued an album on his of the Air. own, newly-formed label, titled Fred l.owery Whittles for the Co-director« of the festival, John Brownlee and Jascha Bird* . . George Uakiaii of Columbia Records headed for Rushkin, are scheduling two symphony concerts a week, the west coast to record Dave Rriibcik . Ton» Arden and two operas featuring start* of the Metropolitan Opera Asso­ Stuart Foster were signed a.« regular vocalists of CBS radio’s ciation, and one pop concert or chamber music performance. (Turn to Page 30)

Vugu-t 10. 195.» Camden To Use Perspectives Real Ork Names ——__— By Ralph J. Gcason WELL, ALL RIGHT, look who has New York — RCA Camden records a hit record now! None other than has been given the green light by five leading symphony orchestras for Count Basie, and for the love of Kan­ the use of their names on the labels of sas City swing, look where he has it! the low priced record line. The five or­ Right in the rhythm and blues field chestras are The Minneapolis, The In­ which up to how has been dominated by dianapolis, The San Francisco, The the greatest collection of caterwauling, Chicago, and The National. out-of-tune mouthers of inane lyrics since the amateur nights went out of Recordings in the RCA Camden cata­ style. log by the five orchestras include the Not that Basie’s hit is up there with work of the following conductors: Eu­ Pledging My Love yet, and maybe it gene Ormandy, Fabien Sevitzky, Pierre ft never will be. But the point is that he hi Monteux, Frederick Stock, Désiré De- THIS tLBl'M COVER was named has a hit. (In case you’ve forgotten, hi fauw, nnd Hans Kindler. In recordings winner of the 34th annual Award for it’s Every Day, with Joe Williams on o: issued thus far by the label the five Distinctive Merit by the Art Directors c< orchestras have been called The Marl­ vocal, and please go right out and buy club of New York last month. It is borough (Minneapolis), Sussex (In­ it. It’s on Clef). Bethlehem Records' cover of the Kai tl dianapolis), Worldwide (San Fran­ Out here in Never Never Land, the Winding-J. J. Johnson album, designed si cisco), Century (Chicago), and Globe r&b jocks from Jumpin' George to the and photographed by Burt Goldblatt, ii (National). Swingin’ Deacon and Bouncin’ Bill are who accepted the award on behalf of spinning it like they were doing it for 0 At the same time that the foregoing the company. love. And hereabouts, the kids, yes J It was announced, a change in the logo­ said kids, are buying it and listening to type of the RCA Camden label was it and requesting it on the air. a made known. Previously the record h BACK IN MAY. 1954, the following label read: Camden Records. A Prod­ s uct of Radio Corporation of America Parker Concert ran in this column at the end of a Now the letters RCA have been added long harangue about how the Columbia big band push then in full swing was d to the trade name making it, RCA fl Camden. Raised $10,000 going no place: . sponsor a coast-to- coast tour of Harry James, Duke El­ f New York—Final figures have been lington, Woody Herman, and Count announced on the Charlie Parker mem­ Basie playing high school dances free. orial concert that was held at Carne­ You know what I think ? I think THAT Laine TV Bow gie Hall March 31. Gifts and sales of would start them dancing again Be­ 1 tickets amounted to $10,698.26. Ex­ cause, in case you’ve forgotten, there’s penses, including hall rental and New a whole generation of kids who haven’t Spots Ellington York franchise tax. reduced that figure even HEARD these bands. And when to $7,728.86. Federal and state income and if they do, . . . look out!” taxes further reduce that amount to New York—Duke Ellington, vocalist Well, by now they’ve heard Count $5,739.96, which shall be placed in Connie Russell, comedian- George De­ Basie, at least, and if Monitor and the trust for Parker’s two sons. Leon and Witt and Dick Van Dyke, and dancer other incredible and wonderful summer Laird. Shirley MacLaine guested on the pre­ conniptions on radio and television con The total amount of tax is being held tinue, they’ll have heard all the really miere presentation of Frankie Laine escrow, however, with a view toward Time on July 20. The hour-long CBS- good bands (the ones Ted Heath appealing to the federal, state, and DIDN’T hear when he said the British TV program is the eight-week summer city authorities to either exempt or replacement for Arthur Godfrey and bands were as good as or better than diminish the payment. the U.S.A, mob) and this might just His Friends. Board of directors of the memorial be the beginning of a return to sanity In addition to Laine, the permanent fund are Hazel Scott Powell, Mary in music. • J cast consists of a dancing group of Lou Williams, Lennie Tristano, Wil­ All Basie has done, you see, is to eight, a chorus of eight singers led by liam H. Dufty, and Charles Mingus. Lynn Duddy, and a 24-piece orchestra play the same old swinging, Kansas conducted by Jimmy Carroll. City blues he’s been playing for years. Only now he has u modem day blues singer shouting something the kids can Music-Educational latch on to over the band. That did Columbia Waxes it. Give the other bands a similar break Record Series Set and they can do it, too, because r&b is basically so monotonous that the only Wally Rose Unit New York—Columbia Records and thing that has made it last with the Silver - Burdette, publisher of educa­ kids is you can’t help finding a place to tional books, have signed a contract San Francisco—Pianist Wally Rose's put your feet. Keep that and give them to produce several new series of music- something to listen to and we’re off! new band was recorded here this month educational records based on material There never have been better dance for a 12” Columbia LP by George taken from Silver-Burdette books. bands than the good bands. Avakian. This is the continuation of a project Rost's sidemen comprise Vince Cat­ started four years ago by the record NEVER MIND the gimmicks, just let tolica, clarinet; Dick I ammi, bass; company and the publisher that re­ the good bands wail and rock and roll Jerry Butzen, trombone, and Cus Cou­ sulted in the New Music Horizons' and in language the kids can understand, sineau, drums, and they’ve been work­ More New Music Horizons series. and they’ll rock and roll with them. ing of late at the Tin Angel and the Production of 60 records, or 10 rec­ It is certainly a pleasure to bi- able to Italian Village. Four of the sides, ords for school grades from one to six, listen to a blues record again. which were cut at Jenny Lind hall, will make this project the most am­ Thank you Count Basie. I hope every­ have vocals by Clancy Hayes. bitious undertaking of its kind to date*. body takes the hint.

6 Down Beat DAVE BRUBECK is in Answers His Critics n- Id A Lot Of Them Are Being Unfair, •y :s Insists Jazz Controversial Pianist if By Don Freeman SOME OF THE critics haven’t liked h DAVE BRUBECK is deeply grate­ the combo from the start, Dave noted it ful to the reviewers who have helped At least they're consistent, he added, ie his career to date. And, in general, but the critics who bug him the most he is not opposed to criticism as one are the ones who’ve turned on the n of the livelier arts. But of this he is unit since the Time magazine cover . . . y certain: “since we made it.” He is sick and tired of the bulk of “This is following the old pattern,” e the written criticism which he con­ Brubeck said. “It’s happened before— siders manifestly unfair, often mis­ to Nat Cole, to Stan Kenton, to Gerry e informed, at times irrelevant and fre­ Mulligan, to Sarah Vaughan, to George Dave Brubwk Shearing in a most flagrant example, quently, he says, based on u woeful Three Years Overdue? lack of understanding and background. and even to Duke Ellington. o In San Diego for Irving Granz* Jazz “The critics deny it, of course, but tains. He says it embarrasses him to a la Carte concert, Brubeck said he it’s too obvious not to be true. They see what happens — the kids simply has kept his feelings largely to him­ don’t like success. They’re restless, don’t get their money’s worth. K these jazz critics we have today. They self, but now he is ready to hit back. “GETTING BACK TO the jazz crit­ a want to discover an unknown talent, “JUST WHAT," he demanded, “what ics, Brubeck continued. “I want to say build him up but make sure he doesn’t do the critics want from me? In the that I am all for constructive criticism s get too popular because that’s when first place I can think of very, very —if it’s really constructive. Now, I they start getting picayune in their few critics with the musical training see some of the critics are impatient criticisms. When an artist gets popu­ to do their jobs properly. with us. They say we should move t lar, the critics hunt for flyspecks.” “I don’t expect critics to be great on and do more originals. Well, it so musicians. But I do think they should DAVE SAID THEY’RE criticizing happens we are going to do a lot of have put m a number of years study­ him for all kinds of things now—“for originals. B ing music, and they should know what not, of all things, being a Negro!” “But if the critics really knew their they’re trying to evaluate. “Tell me,” he declared, “what does business, they’d know that back when “They should know’, for one thing, that have to do with the music we the group was starting, in 1946 and that our group is always improvising. play? And they say ‘Brubeck never '47, we did nothing but originals. Where They should know that w’e never play struggled.’ Never struggled? They were the critics then? the same tune twice the same way. should have seen me in 1946—-living “I remember once, back in 1942, I “I just read a couple of record in­ in a one-room apartment in a housing went up to Stan Kenton and showed terviews—one of our group and the project. Do the critics think all of this him mu of my compositions. Stan said other of a group that has every note came easy? he liked it very much, but it was too they play out in front of them. Yet, “And then if I call up a critic per­ advanced. ‘Bring it back in 10 years,’ both records were judged from the sonally and object even mildly to some­ Stan told me. same set of standards. That simply thing they’ve written, one of them will “I guess I’m three years overdue.” isn’t right. And the critic just didn’t say: ‘But Dave, you’ve made it now. know enough to judge. What difference does it make to you “SINCE WE’RE constantly impro­ what we write?’ vising, a critic should spend, say, 30 “That’s exactly what a critic told Monday Concerts nights in a row seeing us in a club. me. Well, it makes plenty of difference I know that’s impossible. But fan« do what they write about me whether I’ve it, night after night. And that’s the been on the cover of Time or not. To Southampton only way the critics could get a thor­ “YOU’D THINK I’D betrayed jazz ough idea of what we’re doing. New York—Herb McCarthy’s Bow­ by getting on Time. One jazz critic den Square in Southampton, L. I., is “The critics say I don’t swing. I actually thought so. He told me he say we always swing—sometimes we presenting a series of eight Monday wished we wouldn’t get so popular, don’t swing very much, but it’s always jazz nights. The sessions were inaugu­ and he wondered if it were wise to rated July 11 with an all-star group enough to be considered jazz. That take jazz, away from the smoky dives, much I guarantor. The critics say our consisting of Teddy Charles, vibes and ♦ouch is heavy. They say 1 pound the ‘ Maybe he thinks we'd play better piano; Bob Brookmeyer, valve trombone piano. To them, I say why don't you music if we’d go back to the bordellos and piano; Charles Mingus, bass; J. R. listen to Andrcg or to Stardust. in New Orleans. J think it’s wonder­ Montrose, tenor sax, and Rudy Nichols, Brubeck said each man in his group ful to get jazz on the concert stage. drums. Master of ceremonies for the expresses himself differently in each Frankly, however, I would really like entire series will be Mitch Reed, WOR’s song. to see jazz somewhere between the all-night disc jockey. “If occasionally I sound heavy, he night club and the concert hall. It’s Herb McCarthy, whose Bowden said, “it’s because I want to sound bound to happen. Square is a 20-year-old institution in heavy. It’s because the mood we want Night club owners, he said, have been Southampton, intends to present a to create is a heavy mood. We want to fine to him, and he says he’s happy to varied jazz program, with modem as create all kinds of moods in our music, see them make money. But a lot of well as Dixieland groups. Dancing is not only the mood that the critic feels kid- who come to see the group really provided the other nights of the week like hearing ” get hustled in night clubs, Dave main­ by San Free and his orchestra.

luguM HI, 1935 7 No. 1 is collecting jazz records and Kelly) is all acting. He is brisk player-piano rolls.) hard-working, keeps his staff busy WEBB BROKE INTO RADIO as an doesn’t appear to be a “driver.” announcer a Los Angeles station. HIS LIKING for jazz—jazz of the Despite published reports, which he kind Pete Kelly represents—is genuine, denies w-ith good-humored belligerency, not the pose affected by a number of he was never a disc jockey. World Hollywood personalities. As to the pic­ War II found him in the air force ture itself and the extent to which he where, while receiving his pilot’s train­ has succeeded achieving his aim, ing at a California base, he got a he like those who worked with him on chance to exercise and develop his flair it, is keeping his fingers crossed. He for dramatic by writing, producing, and says: acting in shows for his fellow trainees “I know the music is good, and just and also an air force radio series. right for the picture.। I hope no one One of his fellow trainees at the same misunderstands> our aim. We weren't base was trumpet player Dick Cathcart, trying to prove anything about the who handled the musical portion of music, just making a picture for good his programs. This was the beginning entertainment with a jazz musician in Meet Jazzman' Jack Webb Swing Era Helped Make Him Music-Conscious

TWENTY YEARS AGO this month of their long, close association (Dick the leading role who would come to life Benny Goodman opened at the old Pal- says just sort of heard music as a real and authentic person. 1 feel ornar ballroom Los Angeles, and to ear’ from the start”) that has made pretty sure that did that with set off a revolution. For the first time, the musician something of a musical Pete Kelly’s Blues. a white dance band featuring jazz alter ego to the actor—an alter ego soloists, and in w-hich the jazz influ­ n fact to "Pete Kelly” both the ence was predominant, was a total and adio series and the film. smashing success with a large segment “The idea for a radio series—and of the youngsters ho then comprised ultimately a screenplay—built around Jazz Sermon the dancing public. a jazz musician had been in my mind The result was that the aveiagt evei since the air force days and be­ American citizen, n varying degree: fore,” says Webb. “But I knew I’d On Television of understanding and misunderstand­ have to become established in some New York—One of the highlights in ing, became conscious of jazz in music other way before I could hope to be the experimental series connected with for the first time. able to make it myself—and my way. the Look Up and Live programs (10:30 But it was the kids—teenagers and That was one of the reasons we in­ 11 a.m., EDT, Sundays) presented by older, but not much older—who formed ti-oduced Pete Kelly’ first as a radio CBS TV and the National Council of the solid core of the movement. And actually didn’t have much Chuiches of Christ in the U.S.A., was with the passing of the swing era, hope fol­ a sponsor at that time—in­ The Theology of Jazz. The theme of many- of them settled down to become terest in jazz was at a low ebb then the sermon delivered on July 17 by the part of that large and loyal following (1950) due to the confusion that re­ Rev. A Kershaw of Holy Trinity attracted and held by jazz of the tra- sulted from the bop movement—but it Protestant Episcopal Church, Oxford, ditional, swinging variety various!» was a good prestige show both for me Ohio, was a defense against the charge labeled “Dixie,” “two-beat, “New and network. And gave that jazz is an “aid to juvenile delin­ Orleans,” etc. a chance to demonstrate that I could do quency." ONE OF THOSE KIDS was a young roles other than the type I had be­ Musicians Jerry Jerome, Bobby Hack­ ster named Jack Webb, who at the come identified with in radio.” ett, Dave Brubeck, and Eddie Sauter time this all happened was going t SHORTLY AFTER his release from were some of the artists who appeared high school at Belmont high in Los military • Webb settled in San on the show to help emphasize the con­ Angeles. Belmont, it so happens, is Francisco, and it that city tributions made by- jazz to our heritage within walking distance of the site that he n .ed permanently from the as a creative art. of the old Palomar, which burned down booth into the actor’s de­ Rev. Kershaw has spoken often on in 19X8 (about the same time young partment, scoring his first maim sue the relationship between religion and Jack Webb graduated). cess in the title role of Put Noruk for popular music. that time had Hire. In 1949 hi’ returned to Holl» - wood with his idea for Dragnet. ami among those who flocked to the Vogue his low -keyed, under-playing of work Recorded 'Hit Parade' ballroom (previously “Solomon’s Penny a-day but grimly sentimental “Sergeant Dance,” and now a bowling emporium) Friday” that made it an instant hit Is Back On CBS Radio in downtown Los Angeles to hear Arm with radio audiences and in turn in strong (then fronting Luis Russell’s television. New York—Your Hit Parade one of band). Henderson, Hines, and other He had done some minor work in radio’s longest-running musical pro­ great colored jazzmen. films, but after Dragnet he was able grams, has returned to CBS radio on Unlike many another youngster to do what he had always wanted— Saturday nights, 10:30-11 p.m., EDT. Webb’s interest in the music did not make his ow-n pictures—his own way. Andre Baruch, will host the new- inspire him with any desire to learn Off screen. Jack Webb looks younger, version of Your Hit Parade. He’ll spin to play anything himself; his chief in­ and is a lighter, brighter personality- recordings by the nation’s top bands terest at that time was in art. (Paint­ than one expects. The somber, grim- and vocalists America’s “Lucky ing has since become his No. 2 hobby— ncs« nf Sergeant Friday (and Pete Seven” tunes.

Hou n Beal ind bin the ne, of >ic Art Tatum he ini, on He

Evaluates The Music od Of A Great Pianist in

By Andre Hodeir

(Ed. Note: One of Europe’» best- obviously, some elements are infinitely considerations influenced his choice of known und moM respected jazz critics, more important than others? Certainly music? Indre Hodeir. will contribute from time not. Nothing indicates that the choice of l<> time, analyses of jazzmen us seen Add up a man’s abilities, find the Body and Seal, Humoresque, The Man I Lore, and Begin the Beguine- all old fe from hi« perspective. This provocative average, and it may be remaikably piece on tri Tatum lead« off the se- high; but even so, added up averages favorites of Tatum- was imposed upon cl the pianist. This is where 1 wish to th never result in anil never express genius. make my first objection—this choice is a little too facile. 1? WHAT IS GENIUS? The ability to THE RELEASE OF five 12" LP rec­ create, fertility of ideas, taste, feeling, ords entirely devoted to Tatum is an WOUIA) IT NOT have been possible and technique—are these qualities, event whose importance has struck to arrange a program amounting to a when combined in a high degree, in­ everyone in the world of jazz. sort of anthology of the finest jazz numbers? For example, one could have deed when unequaled by any other jazz True, Tatum has recorded a great artist, enough, ipso facto, to justify included Black and Blue, Boplicity, deal in the past. But now for the first Lover Man, Minor Encamp, and Squeeze culling the man who possesses them time this phenomenal musician has » a genius? Me. been given plenty of room, and about But as things stand, these albums n In his notice on Art Tatum’s albums, 3*2 hours to do what he pleases; until deliberately sacrifice beautiful melody h Norman Granz does appeal to think so. now the clock (in the case of his 78- for sentimental ballads and authentic He goes even further—he entitles these rpm recordings), presence of an audi- jazz pieces for popular hits. Too much albums The Genius of Art Tatum, hav­ fellow musi- ence, and the playing of space has even been given to some f ing first observed that “in the past, his freedom cians always hampered particularly doubtful “characteristic” the word genius has been flagrantly of expression. Here we have Tatum pieces. f abused.” on his own, free. But it is not repertoire alone which e An so Granz is running risks—risks, For Tatum, no doubt more of a determines the success or failure of however, which his choice of subject “pianiste d’orchestre” than any othei an album of jazz records. Everything diminishes. Perhaps no other jazz ar­ great jazz pianist, to be by himself at depends on the jazzman’s attitude e tist has been so highly and so unani­ the piano, to be allowed to do just what toward the material. Louis Armstrong mously praised ly his fellow artists. be wants, are factors that definitely has transformed many a silly tune into Even among the avant garde modern­ go into making up his success. It is not a majestic one by simply shifting a ists it would be hard to find a jazz often that a jazzman has had such an few accents or altering a few values; pianist for whom Tatum is not the opportunity to show his real self and Fats Waller managed to give an unaf­ greatest of them all. whatever he can do. The intention here, fected, bantering, and even poetic feel­ Granz writes, is to record Tatum for ing to the most stupidly sentimental THIS EXTRAORDINARILY gifted posterity. songs; Charlie Parker knew how to artist seems to have cast a spell over GRANZ HAS DONE his duty as pro­ play the magician by making appear the younger generation of pianists. ducer; mine, as critic, is to make an and then disappear scraps of a melody What else but admire a man able to impartial examination of the results that should have been rendered in full, conceive and then execute things which Apart from their remarkable technical hiding them diabolically and then pull­ others, sometimes able to conceive, quality, they belong in a class by ing them out of his sleeve, and Lester simply cannot execute? themselves. The European critic, handi- Young, sometimes from the very first So then let us grant that Tatum capped when he has been unable to bars of an exposition, has brought out stands out above every other jazz hear a particular jazzman in person, an entirely new melody and made it pianist. And even grant, too, that the in this case can come very close to look like the negative image of the sum total of his creative power, his getting the same effect an American basic theme but purified, touched up, ideas, his taste, his feeling and tech­ listener would have when listening to and disconcertingly improved. nique, is greater in Tatum than in any Tatum playing in person. We can coiu-^ Every one of these approaches is other jazzman. sider these albums as a panoramic valid. What is Tatum’s? 1 am by no means sure 1 agree, but picture which the celebiated pianist, UNFORTUNATELY, the one Tatum let us grant it for the sake of argu­ at the high point of a long and brilli­ chooses is the most conventional. Every ment. Taken altogether, Tatum’s abili ant career, has drawn of his own work. iazz pianist, even a fourth-rate saloon ties average out as something amaz Has the freedom Tatum was give i pianist, ornaments a theme as he plays ing; but should we assign an absolute in these recordings had any effect on it; in other words, he does his best value to an average, in a field where, his repertoire? Have any nonmusical to revise it, to reanimate it either by

10. 1955 9 i troduemg personal harmonies c (in Louise, for example); and tn the Even Tatum » solo playing, from a by fitting arabesques, runs, or arpeg­ latter case, it appears suddenly, >trik- rhythmical standpoint generally per­ gios between the principal motifs so ing a violent contrast which leaves the fect m slow or medium tempo, often as to bring nut the value, by contras», listener gasping (as in Humoresque). becomes jerky, choppy, and sometimes of the simpler passages which surround One .¡hould also mention the “false feverish tn fast tempo. them. This also gives the player a departures” in quick tempo in The Man Despite the manifest case and sheer chance to display his virtuosity. It is I Love. All that is excellent. mastery with which he overcomes in­ the one Tatum uses. The albums’ high points come in the strumental problems, one lias neverthe­ He shows no evident desire to depart improvised passages. It is when Tatum less, from time to time, the fleeting im­ from the main theme. It is all played m seems frankly to abandon the theme pression that his sense of time is st according to the rules. One need hardly that he illustrates it best. The more he loosening. say that Tatum does this better than frees himself from his material, the P> anyone else. Equipped with greater more his powers to enrich it increase. I HI*» FUG1T1VF impression, which technical means and a better iniagina we receive when listening to certain oí tion than one finds in any other pianist, One cannot possibly list all the in­ passages of Yesterdays, Elegy or Ta he has an easy time of it doing superb­ teresting things, indeed the treasures boo, is something Rud Howell, King ol ly what I would have preferred not one finds in these 10 sides. Nor is this Cole, or Billy Kyle never give us. In M to have seen him bother with ut all. the occasion to enter into un analysis fact, oddly enough, this “unreassuring” C( of Tatum’s style. It is enough if we Actually, this lack of ambition comes pianist is one of those whose taste di can point out that while some of his —or need—for intellectual security has « out in a series of ad lib theme-rendi­ brilliant passages soon show up as tions which, it seems to me, occupy too blocked off certain avenues. «1 formulas—one thinks particularly of a’ important a place in these records. a type of “improved arpeggio” which In Tatum’s playing, the harmonic em WHY ARE THESE ad lib renditions he is apt to use a great deal. Others, on bellishmentr, the rhythmic patterns and 11 here at all? One could understand that the contrary, stem from authentic the fluent runs form a mosaic which tl a pianist of limited resources might musical ingenuity. is purely decorative. This idea of dec­ o' oration and ornament also would ap­ wish to avoid monotony at any price; TATUM IJKES TO take advantage P considered in this light, as something pear to be Tatum’s basic preoccupation of a break in the beat to slip in one in his This Can’t Be Love, Memories of modest, the ad lib rendering has some of those long, confusing runs of his- justification, and it would be surpris­ You and Begin the Begume. But over­ a favorite trick he has borrowed from P ing indeed if the ordinary pianist were all, too many decorative effects only Earl Hines but which he is able to stand in the way of the continuity and P not to make use of it. Rut Tatum is no use more decisively and more richly, I ordinary pianist. even of the unity of a musical dis thanks to his incomparably superior course; and Tatum is surely too fine V And so the element of variety thus a technique. a musician not to realize it. introduced seems to carry little weight I when one considers the major disadvan­ There are frequent passages where Is it that Tatum, knowing just what tage that results from it, the however Tatuin, elsewhere adeptly faithful to he is doing, deliberately chooses to ini momentary dropping of the tempo and the Waller “stride” or the bass lOths pose these limits upon his own crea­ the consequent loss of swing. a la Teddy Wilson, stops beating out tions? Or, on the contrary, has the the rhythm—and yet the tempo keeps As soon as the swing's magic sub­ great pianist shied from objectives more right on. A “suggested beat” is what difficult to attain and contented himself sides, r is lost, the listener is foiced results. to take this music for just what it is, with a complacent and comforting se­ and then he has got to judge it on It is likely to disconcert a good many curity? « its musical substance alone. listeners, and the intervals, void of the There are no ready answers to such One must be willing to make plenty pulse of bass or drum, will perplex questions. Rut the mere fact that they of allowances in order to find some those foi whom the mystery of swing can be asked bodes ill for the future depends entirely on u well-defined after­ superior qualities in a formless flow interest in Tatum’s work. The future beat. It is here, in precisely this sug­ 1 of music containing little by way of set.- little store by the complacencies of t gesting of an unexpressed beat, that, original ideas. the present. in my opinion, one will find the most AS USUAL, TATI M displays virtu­ captivating part of Tatum’s playing A FEW WORDS remain to be said osity and an extraordinary sense of These breaks in the beat frequently about the characteristic numbers. Jazz harmony and even tries now and then give the freed left hand an opportunit} has a small place in them, but Tatuni to bring an unexpected element into to weave subtle rhythmic patterns with has found it necessary to keep them in the recurring monotony of these theme­ the right hand. It is then that Tatum his repertoire. At this point we stop renditions. He diaws upon—and in best succeeds in giving the impression believing in the “taste” of which Granz vain—his extensive imagination, trying of an orchestral style, with its multiple makes so much in his notice. to revive themes whose intrinsic weak­ possibilities; it is then also that he Tatum does by all means produce ness could only be saved by radical re­ comes nearest to modern jazz. some great things in his jazz variation consideration—and that is something of Dvorak $ Humoresque — which he Tatum has not dared to try to do. MORE THAN HIS perhaps too uni­ formly brilliant playing, more than his maltreats uselessly in the rendition of These theme-renditions are generally harmonic language perhaps too con­ the theme—but what can one find to too long. That is their main defect. stantly rich in altered or polytonal say in favor of Elegie? Our entire mu­ The rendition of There’ll Never Be chords, the rhythmic ingenuity he dis­ sical education and culture founded on Another You iast.- almost three min­ plays here reflects the very best in the necessity for masterpieces revolts utes, and the coda (also ad lib) is of his personality. against that. Furthermore, is there in nearly the same length! A close analysis of Tatum’s work the entire European repertory of wishy- Fortunately, when Tatum starts off may bring a number of paradoxes to washy music anything more derisory on a jazz tempo, the light switches and, light; the most difficult of all to ex­ than Massenet’s Elegie! more often than not we are faced with plain has to do with what I might call Let there be no claim that Tatum is Tatum at hi- best. This back-and-forth confidence. able to renovate everything. For here, shifting is sometimes scarcely percep­ It has been remarked, and rightly, Tatum renovates nothing. He .s con­ tible, sometimes abrupt. that Tatum is not a pianist who “in­ tent to play a kind of little arrange­ IN THE FOURTH case, the tempo spires confidence” (in the sense that ment, in form and content similar to gradually glides into the musical dis­ Fats Waller or Teddy Wilson give an the encore pieces that Horowitz tosses course and, as phrase follows phrase, element of support to their side men, off in defiance of the snobs, pieces little by little brings out a pulsation a certain security, enabling them to whose extreme musical poverty makes that has been absent up until now play with an entirely free mind). (Turn to Page 12)

10 Down Heat Marguerite Piazza Wins New Fame en les Just 'Doing What Comes Naturally' ser in­ WHEN MARGUERITE PIAZZA headlined the bill at the Sahara hotel rn­ made her New York supper club debut, in Las Vegas and played to capacity is she astounded audiences and critics by audiences and rave reviews. She fol­ proving that she is one opera singer lowed this engagement with equal suc­ ch who has the talent and showmanship cess at the Edgewater Beach hotel in tin of a veteran club performer. Chicago. Displaying her assets in a variety IT WAS NOT until autumn of 1954, however, that she thought seriously of nK of glamorous, sometimes daring, gowns, In Marguerite presented a sparkling, self- concentrating on this branch of the g” contained show. Working with a male entertainment field and began to pre­ ate dancer and a guitarist, her act in­ pare her specialized act. ias corporated a fast-paced 37 minutes of Comparing opera and club work, operatic and popular songs, dancing Marguerite explains there’s a great deal of similarity in the hal'd, strenu­ m- and dialog and ended with a rousing performance of When the Saints Go ous preparation involved in both. But, nd Marching In. She changed costumes on she says, whereas in opera the singer’s ch the floor, sang, danced, and talked with­ part is already created, a club act is out pause, and held the audience com­ an entirely new creation. pletely under her spell. “IN OPERA, you can only vary the on interpretation of a role,” she explains, She since has repeated her success “but when you present a new club act, in appearances around the country, it’s your baby. You have to originate >b playing to capacity audiences at such it and see how audiences react to it. nd plush spots as the Cocoanut Grove in It’s quite an investment, too. 1 dare is- Los Angeles, the Sands hotel in Las say an opera or music student wouldn’t ne Vegas, the Fountainebleau in Miami, spend half the money preparing for as well as a repeat engagement at the his career that I spent preparing this Hotel Pierre in New York. tat act.” .SHE ALSO RECENTLY performed a m- The next conquest Miss Piazza says capsuled version of her act on Ed she wants to make is in the pop record Sullivan’s Toast of the Town program, he field. and her unique showmanship has been “I’ve had asome offers from record ire widely heralded in the daily press and elf companies, but they still don’t see me in major magazines. in the light I want to be seen in,” she Miss Piazza finds the change from The New Piazza said. "I don't want to record Desert opera to clubs quite satisfying. “You Song or anything of that kind. It’s not ch learn things on a night club floor you elected queen of a Mardi Gras ball, that I don’t like Desert Song, but I ey couldn’t possibly learn on any other and had her own radio show for more don’t want to get sidetracked. I’d like stage,” she says. “You learn how to than a year. to record nice, strong ballads and some ire please audiences and to adapt yourself When she arrived in New York sev­ novelty songs. I’m looking for a hit of to the different problems which each eral years ago, her first job was with record.” city or club presents. The audiences a summer stock operetta company. A —hanmih althush .id are also much larger and more diver­ short time later, she was signed by LZZ sified in clubs. the New York City Center Opera ini “I don’t quite understand the fuss company, and when Benjamin Britten’s New Benzell Act in about my performing popular songs. I Rape of Lucretia was to be produced up feel that music is music. Didn’t Puc­ on Broadway, Marguerite won a part. nz cini use Italian folk songs in his Although the play was of short dura­ To Play Pierre operas? Those were popular tunes. And tion, she was singled out for special then there was a man by the name praise by the critics. New York — Former Metropolitan ice o|>era singer Mimi Benzell will present of Richard Tauber, a leading operatic ANOTHER FLOP SHOW, Happy as on a new act when she returns to the and lieder singer, who was at the Larry, which lasted all of two nights, h« Cotillion room of the Hotel Pierre in same time one of Germany’s favorite again brought Marguerite to the atten­ of September. Following the trend set by -ungers of popular songs. We, in this tion of the clitics, and her performance to Kay Williams, Marguerite Piazza, and country, have become artistic snobs. also attracted the attention of television iu- others, Miss Benzell has changed her producer Max Liebman, who was then on “PEOPLE ALSO FORGET my back­ format to inc’ude backing by several in the process of building the format Its ground. They’ve forgotten that I’m a male voices, and has added new ar­ in c'rl from New Orleans who has always of his Show of Shows. rangements, choreography, and cos­ enjoyed singing popular and jazz tunes. Within a matter of days, Liebman tumes. I'm just going back to something I’ve ry signed her as the singing star of the done all my life. It’s a big surprise to program, and for the next five years, those who remember me as an opera Marguerite represented Miss Opera to Basso Buys NCAC is singer. For me it’s natural.” an audience of millions on the Show of Marguerite started her career in her Shows. It was also during this time New York—Luben Vichey, a leading in- native city. As a youngster, she learned that she made her debut at the Metro­ basso of the Metropolitan Opera has re- to play the violin and greatly disap- politan Opera, embarked on several purchased the National Concert and to pointed her music teachers when she nationwide concert tours, and headed Artists Corp., one of the two largest les her own radio show, Encore. concert bureaus in the U. S. The sale 8 turned to singing instead. «8 She began studying opera at 15, Her first su;>|»er club appearance took also included the Civic Concert Service, :es won several singing competitions, was place about two years ago when she Inc.

UguM 10. 1955 11 Oberstein’s Records Help Genius Of Tatum (Jumped from Page 10) their inclusion in the program justi­ The Music Bargain Hunter fiable only because they emphasize the virtuoso’s technical dexterity. By Hannah Altbush FAR FROM audacious in other re spects, Tatum throws caution to the RECORD COMPANIES are ro­ winds wheir he creates the possibility mancing the LP buyers with every for making such a comparison: sine«« possible method. Each firm claims to there is virtually no music here, un­ possess the highest hi-fi sound, the less it is of the worst, and hardly any finest recording technique, and the lazz. there is nothing but the virtuoso greatest artists. left to judge. In this strife for LP superiority, How then when matched against there’s one manufacturer of long-play­ Horowitz’ perfection, can inaccuracies, ing discs who blithely disclaims any unevennesses of touch, and a broad competition in his particular field This range of minute imperfections help but manufacturer, Eli Oberstein, caters to appear? And how can these faults help the music bargain hunter w’ith a wide but rid these exercises of their last selection of music at the lowest prices “raison d’etre”? m the market. Such errors invite the severest criti­ Oberstein’s Record Corp., of America cism. It would be unjust to exaggerate produces 10-inch LPs and EPs which them, but everything taken into con­ sell for 69 cents and 12-inch albums sideration, these disagreeable interludes which range from 99 cents to $1.98. His are of little importance when one com­ labels include Royale, Allegro, Varsity, pares them with an outstanding success and Gramophone, and discs are issued like Tenderly. at a quick pace of 20 to 25 releases All the same, they are elements in a a month. portrait the artist has painted of him­ THE I NUSl 1111 diversified releases self, and painted with sincerity, in Eli Oberstein pouring from Oberstein’s plant are de­ these five records. They strengthen the signed to entice every type of buyer. impression of extreme unevenness one tia, and the Dresden State Opera The scrupulous collector of the classics has upon listening to them. orchestra. This summer, he plans to finds wide selection of symphonic and FO BE SERE, unevenness is not cut two operas in Hamburg, as well operatic works in the catalog; for the always irreconcilable with genius. But as recording additional symphonic popular music fan, there are previously if the artist of genius runs this risk, works in Florence, Geneva, and Rome. unreleased albums by Georgia Gibbs, he does so almost always through an Kitty Kallen, Jaye P. Morgan. Gordon His profit margin is necessarily small, excess of boldness, and very rarely MacRae, and many other favorites, and but Oberstein is successful because he through complacency or caution. One enjoys a steady, large sales volume. for jazz listeners there’s a choice of discerns flaws in Tatum’s i bh s merchandized recording by top artists, including Diz­ \ playing; they all stem from the same chiefly in drug, chain, and department zy Gillespie, Sarah Vaughan, Lee source. Something more of discipline, stores, and many customers buy as Wiley, and Duke Ellington. of toughness, of audacity w’ithout doubt many ’s at a time, would have given richer outlets to his According to Oberstein. his best-sell- also do lively brilliant gifts. ing and most profitable line is “imood mail order record business. If finally, after having paid homage music,” show tunes and standard; Oberstein entered the wax circle in to Tatum's outstanding qualities. I re­ hvered in a soothing manner. 1924. He helped organize Columbia their fused to recognize in him a jazz mu “Most people want music in Recoixis and the Okeh label, and in sician of genius, it is because it seems homes. xplains, “but they don’t 1928, joined RCA Victor as head of want to concentrate on it. While the the record division. obvious that his very conception of jazz connoisseur is able to identify every In 1939, he organized the Scranton bats his entrance into the world of movement uf u symphony, and listens Record Manufacturing Co.—now known real artistic creations. to every nuance in jazz or symphonic as Capitol Records—and in 1945, he In concluding, one could echo that music, the average record buyer is returned to Victor as manager of the toughness, ruthlessness, indeed cruelty, content with hearing pleasant music. a&r department where he remained are the secrets of genius. These secrets Most of my recordings are designed until 1948. w’hen he founded his Rec­ seem in no wise to have been confided for these average listeners, who. I ord Corp, of America. to Tatum. would say, comprise about 98 percent HE W IS ONE of the pioneers who of the nation.” reco rded jazz, JUDGING BY THE talent and re)* i - and Baker Quartet Will toire in his catalog, however, it set ms western music, the swing bands in the likely that the remaining 2 percent ’30s and the singers who became the Tour Europe In Fall would find pickings satisfactory. Note­ rage in the '40s. worthy is the list of young artists who Basically, things today really haven't New York—Chet Baker will leave on can be heard on the Royale and Allegro changed, Oberstein says. "People still a three-month tour of Europe in Sep­ labels—John Brownlee, Giacinto Pran­ want to dance, and TV7 is actually a tember. He will give concert and thea­ delli, Ralph Herbert, and Albert De­ giant vaudeville circuit, with the right ter appearances in France, Belgium. Costa, of the Metropolitan Opera, and kind of musical groups, the big band Holland, Sweden, Germany, Italy, and among instrumentalists, Leonid Ham business can easily be revived.” Israel. The tour will be followed by bro, Oscar Shumsky, and Rosalyn Tu- Although sometimes tempted to re­ a trip to Australia in the spring. reck. turn to the popular field, Oberstein is Accompanying Chet on these jaunts Oberstein has done much of his re­ content to remain w ith his line. There’s will be Russ Freeman, piano; Jack cording with European sjmphomc undiminishing demand fin«, Lawlor, bass, and Pete Littman, drums. groups such as the Oslo Syntphonv standard music, he says, and there’ll Joe Napoli will handle all business mat­ orchestra, the Berlin Symphony orches- always be bargain hunters. ters. The Devil's Advocate the By Mason Sargent re- J ram Sin Song» to Indian»! For high the quality of recorded sound and full- lity scale annotation with texts in each al­ nee bum, Elektra is one of the leaders in un- the folk recording field. iny Elektra’s adventurousness and oc­ oso casional wit in choice of repertoire is ...it’s smarter to also consistently stimulating. Of its nst recent endeavors, I would recommend ies, your auditioning Sin Songs--Pro and )ad Con, sung by Ed McCurdy (EKL-24); charter a GREYHOUND! but Courting Songs with Jean Ritchie and elp Oscar Brand (EKL-22); Nova Scotia ast Folk Music from Cape Breton collected by Diane Hamilton (EKL-23;) Italian iti- Folk Songs sung by Cynthia Gooding ate (EKL-17), and Once Over Lightly on- with Alan Larkin (EKL-21). des >m- Another small company with con ess stantly high standards is Esoteric. By means of an association with UNESCO and the Musee de 1’Homme in Paris n a (among other organizations), Esoteric im- lias issued a brilliant collection of in Music of Occidental Africa. The record the won the Gran Prix du Disque last year, ine and well it should have. There is an not extended range of unique instrumental iut timbers and some startling drama, all sk, excellently recorded (Esoteric LP ES- an 529). ely Canyon Records, an even smaller )ne company, is devoted to American In­ m’s dian music, the least generally known me and yet among the most exciting ne, strains of American folk music. The ubt best single introduction to the music his of the American Indian, quite superior A chartered Greyhound coach solves many travel prob­ to most of the earlier attempts in the lems for band, orchestra, or troupe, and at lowest cost! ige field, is Canyon’s The Song of the In­ Famous “name” groups in show business agree that a re- dian (LP C-6050). Several tribes are chartered Greyhound is the most convenient, dependable nu- represented. Canyon is at 834 N. way to move a group from date to date. Greyhound is ready Seventh Ave., Phoenix, Ariz. ms when and where you want it . . . going direct to the door azz International Musics World Festival of your next engagement. Aboard a chartered Greyhound of of Folk Song and Folk Dance is ab­ your group enjoys adjustable, body-form easychairs — sorbingly diversified selection of music and perfected air-conditioning, and you arrive rested, re­ iat from the second World Festival of the freshed, ready for the show. Instruments, baggage, and Ity, International Music Council, UNESCO. ets Nineteen countries are represented props travel right with you. Why not write for charter led (Westminster 12" LP WL 5334) . . . details, or telephone your nearest Greyhound agent? Songs of Corsica, a collection never be­ fore available in this country of music depth are the Mexican melodies sung ¡11 b by Martha Angelici (Angel 12" LP ANG 65017) . . . Also marked by rar­ Il I ity and fire is a set of sardanas, the FREE: GREYHOUND CHARTER BUS INFORMATION. Moil to Greybewnd Infor­ folk dance of Catalonia. The music is mation Center, 71 W. Lake St., Chicago 1, III. for folder describing Greyhound Charter Services on played by the Barcelona Sardana band, ep- whose idiomatically unique instrumen­ Nam«. ea- tation has a whirling play of sonori­ im, ties you’ll hear nowhere else (Angel ind LP ANG 64007). City & Stat* by A second volume featuring the uniquely stirring Amalia of Portugal My group of. persons is planning a trip or tour on or about nts (Dat«) has been, released. The leading singer ick of Portugal and the reigning expert ms. on fado songs is heard in eight highly lat­ effective performances (Angel LP ANG 64013) rai Au*u.t 10, 1955 the thinkers and the experimenters, the gu.tar moderns. Barry Ulanov That's not quite an accurate descrip­ tion of Sal Salvador—thinker and ex­ Along perimenter. it suggests a daring he’d THIS IS my annual appeal for the nc the last to claim. No, his role is not Instrument Row guitar—at least that’s what it seems to strike out along new paths with the like to me. Because almost every year, reckless abandon of an explorer or an Color has been added to the new line for the 16 that I’ve been writing pro- inventor. He may build some gleaming fessionally about jazz, I’ve felt called of Pedler “Carry-All’ clarinet cases. concrete roads where only dirt or Beautiful effects are available in strik­ upon to say a word about the plectrum gravel was before, but it won’t be and it pluckers. ing color combinations of greens, ma­ without careful planning and sifting roons, blues and tans. Two additional Maybe it’s because I’m a frustrated and testing of all sorts. features of the “Carry-All’ are the sep­ fiddler myself (but what violinist isn’t? What Sal has to contribute lies along arate compartments for standard-size —except, perhaps, Fritz Kreisler, and more reflective lines. He’s decided, music and instruction books, and the he’s retired) and the guitar is the qu.te firmly, to build his small group extra large compartment for reeds, closest thing to the violin among solo mu» something of permanent impor­ reed trimmer and swabs. For further jazz instruments in its range, its wide­ tance and let the adventure come that information write The Pedler Com­ spread adaptability, its string textures. way. (No, I’m not forgetting the bass; it’s pany, Elkhart, Ind. ne can do it. Because he’s cautious, a bully instrument, all right, but of a sometimes almost to the point of ti­ very different color.) Chet Atkins electromatic guitars are midity, what he does with his guitar and now available through Gretsch dealers. Maybe I feel inclined to put in a plea Eddie Costa’s vibes and piano and Jim­ The Gretsch-Chet Atkins guitars are for the guitar so regularly because, in my Gannon’s bass and Jimmy Camp­ available in either solid body or full­ spite of all the amateurs who strum bell’s drums will make good musical body models. Both styles have twin their uneven way through hillbilly and sense, carefully thought out and con­ Gretsch-DeArmond built-in pickups, the folk and pop tunes, it still hasn’t scientiously developed. To some listen­ Gretsch “Miracle Neck,” and other fea­ achieved its proper professional status. ers, because of the obvious care that tures which make Gretsch one of the THIS LATEST PIECE of special has gone into its planning, the playing leaders in the field. For additional in­ pleading owes its existence to a recent of his group will sound very much like formation write The Fred Gretsch Mfg. i talk I had with Sal Salvador. I’ve been a cocktail combo, discreet, more or less Co., 60 Broadway, Brooklyn 11, New quite impressed with Sal’s contribu­ subdued, and with the melodic line— York. tions to San Kenton’s branch of the especially if it’s a familiar one—un­ Capitol library—you know, the “Ken­ mistakably clear. Four new console pianos were intro­ I ton Presents Jazz” label. It seems to TO OTHERS, it won’t appear all that duced by Ivers & Pond, recently. The me that Sal has done more with the conventional: they’ll hear the delicate Modern, French Provincial, Contempo­ I opportunity to record regularly for a nuances of guitar and vibes or piano, rary and the Traditional are all 40- major label than any of his Kenton voiced together or alternating in solo; inches high, 56-inches wide, and 24- colleagues. He’s begun to construct a they’ll appreciate the real rapport inches deep. The new models feature musical identity for himself with his among the four men and realize how I-beam construction, laminated hard- guitar-vibes or piano-bass-drums quar­ much better integrated the rhythm in­ rock maple cap bridge; extra heavy tet, and with it to give the guitar one struments—the bass and drums—are back post construction; and many more i of its few consistent working outlets. in this group than is usual for a jazz outstanding features. The Modern has He’s just begun, too, to realize his quartet, even one that plays together clean, functional lines and features 1 potential as a soloist and leader. All us often as this one does. lighter woods. The French Provincial is these things combined with my own What I’m hoping is that the general available in radiant French walnut. taste for his instrument naturally made public will listen for the conventional The Contemporary has a hand-rubbed 1 a long talk with him most welcome. suasion and suavity of Sal’s music and mahogany finish. Of shoes—and ships—and sealing that musicians will be attracted by the wax — of cabbages — and kings — and subtleties and that between them they why the sea is boiling hot—and wheth­ will give Sal, Eddie, and the two Jim- Jazz At Metropole I er pigs have wings: we did talk of inys the courage to stick together and many things. We established early on work together and even experiment to­ On Bethlehem Wax A in the conversation his high regard for gether to make a guitar-centered com­ New York—Jazz at the Metropole, Charlie Christian, which is, of course, bination an artful part of the jazz a new series of on-location jazz LPs is the necessary antecedent for any se­ world. being recorded by Bethlehem Records rious talk about the guitar. When he You see, for all the range of instru­ in an exclusive deal signed with the was a kid in Munson, Mass., he listened ments and ideas and techniques in re- Metropole, midtown jazz spot. to Christian and learned. cent jazz, the guitar has still not ar- The first volume was released in A Sal. as few of the present generation rived at its rightful position in our early July and featured Red Allen, of guitarists, defines each of his single­ music. There are still very few big Charlie Shavers, Cozy Cole, Bennie 7 string notes with that crystal clarity bands that use a guitar in the rhythm Moten, Herb Fleming, Buster Bailey, which was Charlie’s, cutting the tones section; and there are almost no small and Claude Hopkins. 7 incisively into place as one must to groups—trios, quartets, or larger cham­ justify the use of a pick. But he didn’t ber outfits—that are built around the of My True Love's Hair to Steel Guitar stop with Christian, of course. He guitar, apart from an infrequent record Rag to Something's Gotta Give to moved easily along the years into the session or a one-night or two-week club Flamenco to a Bach Invention and make A far reaches of jazz modernity, finding appearance designed to show off this it all at the very least acceptable and pleasant all his contemporaries on the or that guitarist. at the very best inspiring. F guitar who had something special to WE’RE MISSING something of con­ It’s the instrument, after all, of Se­ say. sequence in our musical environment govia and Gomez and Christian; it's TAL FARLOW, for example, and this way. We’re without the large re­ th# natural heir of centuries of lovely K Jimmy Raney, and Howard Roberts, sources of an instrument that can swing European music and the logical core of the coast musician—all make pleasing and sing, that can set up lines a note at a blowing tradition all our own. It sounds and construct engaging lines as a time or in clusters of chords, that can should not be neglected, nor should F far as Sai is concerned. That places talk softly but wave a big beat, that those who are doing something to re­ him, then, where he belongs, up among can move easily from Black Is the Color deem it from its puzzling obscurity.

14 Down Beat A Albums Warning Given

The following single rrleaar» were Joe Derise the best received for review for thi» To Songwriters Come; Love; It Might A» Heil Re issue. Title» in capital letter» indicate ne Spring; My Romance; Maybe; Hou the ranking side. LPs and EP» received The recent indictment of three Cali­ ss. High the Moon; A Fine Romance; for review are diaciiMed at length. fornia song sharks for allegedly de k- Mountain Greenery; How Long Hat This frauding a professor of $5,000 to “pro­ Five-Star Discs Reen Going On? mote his song” focuses attention to this >al Ruting: racket that picks the pockets of thou­ P THE GIRL UPSTAIRS I You’re My Derise, best known previously for his sands of inexperienced songwriters, ze Love — David Car roll (Mercury said Milton Rettenberg, director of the he 70658) work as vocalist and guitarist with Claude Thornhili and as director of the music editorial department of Broad is, SONG OE THE DREAMER I Don’t east Music, Inc. er Stay Away Too Long—Eddie Fisher Four Jacks and a Jill vocal group, makes his first LP appearance on this Rettenberg cited misleading adver­ li­ (Victor 47-6196) tisements, brochures and direct-mail THE RAIN SONG I Poor Little Mon­ package. His is an individual style, something solicitations which promise advice, day—Eddie Fontaine (Label “X” 4X- “constructive criticism,” publication, re 0151) akin to the singing of Jackie Paris, and his own piano playing und the accom­ even recordings — all for a fee, of rs. TEDDY BEAR / Please Be Kind— course—as methods the sharks use to paniment of bassist Milt Hinton and Betty Madigan (MGM 12022) cheat the naive. THE YELLOW ROSE OF TEXAS I drummer Osie Johnson is just right. 11­ “These charlatans,” Rettenberg said, Blackberry Winter — Mitch Miller in But he lacks mainly a good singing “will enthusiastically accept your song, (Columbia 4-40540) voice, and musicianly though his ef­ he regardless of its merits, or, set your THE HOUSE OF BLUE LIGHTS / forts may be, they may have difficulty lyrics to music for fees ranging from Midnight Sun—Pat Morrisey (Decca getting across to either the pop or jazz he $20 to several hundred dollars. 9-29554) markets. n­ “Or they will record your completed EVERY DAY I Pidilly Patter—Patti g- Also evident is some of the tense­ song for a fee and send you a catch­ Page (Mercury 70657) ness that must inevitably accompany a phrase contract that will cost you hun­ first recording date. (Bethlehem LP dreds of dollars.” Fsur-Star Discs BCP 1039) He emphasized that these persons o­ BLUE LOVER / Realize—The Three who promise publication are not legiti­ he Chuckles (Label “X” 4X-0150) Bill Hayes mate music publishers. “Simply oper­ o- FORGIVE THIS FOOL I You Wanted High Noon; You're Nearer; Char­ ators who skirt the edges of the law,” 0­ to Change Me—Roy Hamilton (Epic maine; Wanderin’; Tulip» and Heather; he said, “they might provide a printing 4- 5-9111) How Do You Speak to an Angel?; Pa- service . . . but at exorbitant prices. re PRETTY LITTLE MISSY I Baby, dam-Padam; Say You’ll Wait for Me In every instance, the cost to the song­ d Your Sleep Is Showing—Louis Arm­ Rating: kkk writer through the song shark method ry strong (Decca 9-29546) is far more than he would ordinarily A package released by MGM to capi­ re HE NEEDS ME I SIMPLICITY—Les pay to any legitimate printer.” as talize* on some of the popularity Hayes Brown (Capitol 45-13961) Stressing that songwriting is a high­ es has received in his new role of Davy LET’S MAKE THE MOST OF TO­ ly competitive profession, Rettenberg is Crockett. These were waxed for the NIGHT / Just Between Friends— also told of the staggering odds facing it. label when Bill was doing the Show of Kitty Kallen (Decca 9-29593) the amateur writer. pd YOUNG AND FOOLISH I Heart — Shows, and they all are done well, if “During the fiscal year ending June McGuire Sisters (Coral 9-61455) not in exactly inspired fashion. Chiefly 1, 1954,” he said, “about 50,000 songs 1LLEY OOP/I Laughed and Laughed for those who have become Hayes fans were registered for copyright in Wash­ —Marjorie Raeburn (Capitol F 3180) recently and would like to hear this ington. Of those 50,000 songs, only HUMMINGBIRD I Saturday Night- more formal aspect of his singing. 9,000 were published. Of the 9,000 pub­ Don and Lou Robertson (Epic 5­ (MGM EP X-312; Two Record») lished, less than 100 reached best-seller 9110) MAN IN THE RAINCOAT / Today proportions, and just about 99 per cent te, and Ev’ry Day—Lita Roza (London Interrupted Melody of those were written by experienced, is 45-1589) Habanera; Mutetia'i Waltz; ll Fr ti professional songwriters.” ds ratore; One Fine Day; Seguidilla; Im­ However, for those who are deter­ lie Three-Star Discs molation Scene; My Heart At Thy Sweet minefl to go ahead and write a hit Voice; Over the Rainbow; Vui Che song, Rettenberg offered the following HEART OF GOLD / You’re My Des­ in Sapete; Anchor* Aweigh; The Marine tips: n, tiny—Joe Barrett (Decca 9-29573) Hymn; Don't Sit Under the Apple Tree; 1. Never pay a publisher any money ie THE OTHERS I LIKE I Piddily Pat­ Waltzing Matilda; Excerpt» from Tris­ ter Patter—Burton Sisters (Victor for the publication of your manuscript y. tan and Isolde 47-6186) or the recording of your song. Any THE GIRL 1 CAN’T FORGET / Whit Katin*. publisher who asks any fee is not run­ Violets—Ricky Denell (Benida 5038) Despite the selections used in this ning an ethical, legitimate business. ar motion picture album this is by no SO DEAR TO MY HEART I Without 2. To submit a completed song to a to means music for longhairs. Instead, it a Girl—Skip Farrell (Decca 9-29557) reliable publisher, it is necessary only ke is a well-paced most listenable record, HAPPY TIME MEDLEY / Madalaina to have the melody line placed on id with Eileen Farrell and the MGM —The Gaylords (Mercury 70660) manuscript paper, with the lyrics writ­ Symphony •rchestra obviously striving FREDDY /Pass the Plate of Happiness ten below the melody and harmonies e- A round — Guy Lombardo (Decca 9­ to reach the large audience which will see the picture of the same name, a indicated. If you are unable to do this 29587) yourself, some local musician may do it b biography of the noted diva, Marjorie KISS ME AND KILL ME WITH for you for a small fee. of LOVE / If It’s a Dream—McGuire Lawrence. It Sisters (Coral 9-61454) Music is full, and the performanci­ 3. Submit a copy of your song to as Id FOR THE VERY FIRST TIME / Song as portrayed on the record is deserv­ many reliable publisher* as you wish; of the Dreamer—Bunny Paul (Capi­ ing of a most careful listen. (MGM their addresses may be found m publi­ tol F 3178) P 7" EP» X-304) cations devoted to music.

tu|*ust 10, 1955 sings, but lyrics have meanings, and Band sets itself a remarkably high diet doesn t seem to grasp them often standard Gettysburg and pretty WS enough. well keeps up the pace all the way, • does play sonic excellent horn though I am more enamored of the pots, and the backing by Russ group when it plays in collectively All jazz murd« are reviewed b» Nai Freeman, piano. Red Mitchell and Car­ swinging ensemble than when the solo­ Hentoff except those initialed bj Jack son Smith, bass; Bob Neel, drams; Bud ists take over. Very good fare, how­ (J.T.) (JazzHme 12" LP J-1205) Tracy. Rating: Excellent, ♦ Shank, flute; Corky Hale, harp, and a ever. Very Good ♦♦♦ Good. ♦* Fair. * Poor. string section, is competent. Just bare­ ly three stars. (J.T.) (Pacific Jazz 12” CJiarlie Barnet Chet Baker I.P 1202) Hop on thr Skyline» Sing» and Play» Skyliner; Gulf Coast Blues; The Paul Barbariu Let’» Get Lost; Thi» fa Always; Just Moose; Things iin’t What They Used Friend»; I With I Knew; I Remember New Orleans Jamboree to Be; Oh! Miss Jackson; Pou-W ou; You; Daybreak; You Don't Knou W hut Gettysburg March; Screamin' the Drop Me Off in Harlem; Shady Lady; Lore It; Grey December; lung Ago and Bluet; Lilies of the Faller; First The Great Lie; Strollin'; Kango; Smiles Far iway ; Someone to Watch Over Me Choice; Tiger Ray; I'il lisa Jane; Rating: Rating: *6* Careless Lore; Mon Cherie Ami; The Second Line; It hen the Saints Come A group of sides cut by Barnet in L takes a singer with considerable the inid-’40s, some of which have never skill und experience to sustain interest Man Inn' In Ruting: before been issued. a 12" LI Very few have thus Charlie had a jumping band at that succeeded, with perhaps Frank A lusty New Orleans session that, time, and with the addition of Roy Sinatra’s In the H ee. Small Hours the except for Saints,vstays away from the Eldridge in the recording studios on prime example of h w it should be too-often-played and explores some some of the sides, it was nearly a done. little-heard material. great one. Eldridge is restlessly and Chet just doesn’t have the equip­ Ever onhand are the driving drums joyously vibrant on his efforts, as if ment to assay a project of this size. of Barbarin, who has the seemingly he had so much to say, he couldn’t An occasional single release to satisfy simple but difficult to find knack of get it all out, and you’ll also hear those fans who are moved by his vocal­ keeping a swinging beat going no mat­ Peanuts Holland, who has been in izing might better be in order. ter what else may he going on. Trum­ Europe for years, Howard McGhee 1 am still amazed, however, by the peter John Brunious plays stimulating (who wrote Strollin'), and the lavishly number persons, chiefly feminine, lead, clarinetist Willie Humphrey ex­ talented Dodo Marmarosa, who could who are gassed by him. His voice is cels o i the ensemble work, and Danny have forged a brilliant pianistic career. much like Mel Torme’s—husky, whisp­ Barker plays his usual effusive banjo. Pow-Wow is almost all his, und his ery, almost ephemeral. Saving grace is Also on the premises are Bobby Thom­ work certainly does stand up over the his sense of phrasing, almost always as, trombone, and Lester Santiago, years. present instrumentalist who piano. Recording quality surprisingly good; especially so if you bought any of these as singles in the days when shellac was scarce and records were pressed (seemingly) out of old gravel roads. (J.T.) (Dec... 12' LP DI-8098)

Johnny Hodge* Dance Hash Perdido; Indigo; Squatty Roo; Roue Room; Blue» for Basie; My Night to Lore; Thi» Lore of Mine Ruling: First five sides account chiefly for TRUE HIGH FIDELITY 12" LONG PLAY SERIES the rating, as Johnny und his cohorts romp skillfully through four time- THE SWINGING MB. ROGERS tested vehicles and an original (?) SHORTY ROGERS « HIS GIANTS blues. Al Hibbler sings the last two. Personnel on the instrumentals com­ 1213 MABEL MENGER prises Hodges, alto sax; Arthur Clarke, EP; 541 54? 543 SINGS COLE PORTER tenor; Harold Baker, trumpet; Law­ 1214 rence Brown, trombone; Leroy Lovett, SONGS BY BOBBY SHORT EPs 544 545 piano: John Williams, bass, and Louie Bellson, drums. PAUL RARBARIN 0 HIS Perdido, which ha* been just about NEW ORLEANS JAZZ played to death over the past decade, 1216 JAZZ * ROMANTIC PLACE? gets udrenalized here when played by EP: L« SO 550 DAVE PELL OCTET the guys who started the whole thing. Shorty Baker’s trumpet is a highlight, as he toys humorously with Donkey ATLANTIC RECORDING CORPORATION Serenade, then opens up. Why he hasn’t 234 WEST 56 STREET. NEW YORK 19. NEW YORK been recorded with his own group yet is one of the mysteries that lies with the muses. He plays beautifully in a tight cup mute on Indigo, growls alu Cootie Williams on Squatty Roo, and just about steak the whole session. Hodges swings well on Perdido, is in his real element on Indigo, but runs into a fast tempo on Squatty and his playing tends to become staccato and

Duh il Ikai disjointed The great sound of Law i-ence Brown marks his solos, and new­ comer (to records) Clarke acquits him self well. David Stone Martin’s cover is a re- markable one. (J.T.) (Norgran 12" IP MGN-1024) Oscar Peterson John Mehegan famous jazz pianist The First Mehegan and popular recording artist ( herokee; The Boy Next Door; Blue’s Too Much; Thou Swell; Taking u ( hence on Sirod; Uncus; Stella he Starlight Ruting! ***** Here is a real talent, one who has a gleaming jazz future. There is con­ fidence in Mehegan’s attack, and knowl­ edge in his notes, and he swings. John has absorbed many influences, from Teddy Wilson and Nat Cole to Bud Powell and Lennie Tristano. but he has welded them all into an expression of his own beliefs and personality. He has a message. First four sides have Charlie Mingus on bass and Kenny Clarke, drums. Last four spot guitarist Chuck Wayne, bass­ ist Vinnie Burke, and drummer Joe Morello. Aside from Mehegan, who plays su­ perbly on all the bands, you may bi jj iano versatility, invigora­ as impressed as I was by Mingus on Thou Swell, Chuck Wayne on Stella, ting style and crispness in tech­ on which he and Mehegan play like nique mark Oscar Peterson as an Siamese twins, and by the drumming outstanding performer in the world of both Clarke and Morello — always pulsating, always helpful, always taste­ ol jazz . . make his renditions exhilarating. This one Savoy calls The First Mehegan. The second is already being Another stimulating performer eagerly awaited by at least one per­ son. (JT.) (Savoy 10' 1PMG-15051) the AMI Model automatic phonograph. Listening to the music • liarlie Parker of your favorites faithfully repro­ Memorial duced by AMI’s exclusive Multiple Hathado* (Iwo hikes) ; ConsleHalion Horn High Fidelity sound system (2): Parker’s Mood (2); Perhaps (2); is delightfully different. Here is Marmaduke (2); Donna Lee; Chasing the Bird: Bussy; Milestones; Half Nel­ moving, live talent quality enter- son; Sippin’ at Hell’s (2); Billie’s tainment Model sparkling Bounce; Thriving on a Riff colors create that dive” air. Rating i set the stage for festive evenings Another wealth of material for jazz out, make good music sound fans, with 10 of the bands represent- ing takes never before released by even better. Savoy. It’s Vol, 2 of a series, and apparently the company is going to incomparable "F-1201 So for that extra “lift” in listening, perform the remarkable service of put- always play the AMI at your fav­ every scrap of Cha: lie Parker it has on tapes and discs. LIVELY orite location. And remember never Complete personnel on every side is AMI listed, and Rudy Van Gelder’s re­ mastering job is a good one. Only sug­ DECORATOR COLORS gestion 1 could offer would be to in­ clude recording dates whenevei pos­ sible, in order that the many students who will be using these as study ex­ amples of improvisation might be able to compare the sides from a chrono­ logical standpoint. This series is just about a must for any serious jazz collector. (J.T.) (Savoy 12" IP MG-120091 (Continued on Page 18) band including Georgie Auld, Joe Lip­ Hampton, Basie, Cootie Williams- Auld. Jazz Reissues man, and Buddy Rich played four Bix jo Jones, and Dave Tough. An essential (Ed. Note: Here it a compilation of tunes. The songs are generally over­ LP. many of the jazz reissues that have arranged and there’s not enough ex­ BOB CROSBY — ♦♦♦ The Bob Cats been released in the last few months tended solo blowing by Berigan, the Ball (Coral 12" LP CRL 57005). All As space permits, we will run others ) best jazzman on the date. The per­ but two of these are with full band formances are more of a historical rather than with the small combo Bob COUNT BASIE— ***** Lester curiosity than moving jazz. Cats, so the musical interest is co. Leaps In (Epic 12" LP LG 8107). A BUNNY BERIGAN — *★★* Take respondingly lessened. However, there cornucopia of Pres-with-Basie sides It, Bunny (Epic 12" LP LG 3109). A are several good solos by the sidemen, from 1936 to 1940 including sexen with set of interesting 1935-’36 dates, in­ Eddie Miller and Bob Zurke among full band, two (Dickie’s Drcam a d cluding an early recording by a Glenn them. Packaging is disgraceful with no Lester Leaps In) with septet, and three Miller orchestra. Among the men heard recording dates or list of personnels. from the famous Jones-Smith, Inc, on the sides are Eddie Miller, Raj Recordings date back to 193o. Decca’s quintet date. Jimmy Rushings sings on Bauduc, Jack Teagarden, Artie Shaw, reissue of the Bobcats (Decca 12" LP Boogie Woogie. Among the band num­ Dave Tough, Joe Bushkin, and Matty DL 8061) contains much better jazz. bers are Taxi War Dance, Clap Hands, Matlock. Included is the 1936 small ALLEN EAGER Allen and Rock-a-Bye Basie. This is a set no band Berigan Started with vocal. Won­ Eager, Vol. 2 (Savoy LP MG-15044). one should be without. Full person el derful Berigan horn throughout. The Four sessions (three from 1947 and one and recording dates given. notes for all these Epic reissues would from 1946) make up this set. Among CHARLIE BARNET — ♦** Town be more valuable if they just listed full the musicians are: Terry Gibbs, Duke Hall Concert (Columbia 12" LP personnel and recording date for all Jordan, Curley Russell, Max Roach, CL 639). The concert was in 1947 and sides, and cut out the adjectives. Dig George Wallington, Doug Mcttome, among the men in the band w*ere Clark that Steig cover. Leonard Gaskin, Stan Levey, Kai Wind­ Terry, Jimmy Nottingham. Clifford CHARLIE CHRISTIAN — ***** ing, Marty Napoleon, Eddie Safranski, (Bud) Shank Ji (No solos) Dick With the Benny (roadman Sextet and and Shelly Manne. No composer credits. Snanahan and Claude M illiamson. Vo­ Orchestra (Columbia 12" LP CL 652). At this stage of his development, cals were by Bunny Briggs and Jean An excellent assemblage of sides as Eager’s Lester-denved modern horn Louise and arrangements by* Neal made by the late, great Charlie Christ swung but displayed little voice of its Hefti, Andy Gibson, Ralph Burns, Billy «an who was a similar liberating force own on these sides. There are, how­ May, and Billy Moore. It was a swing­ to the guitar as Blanton was to the ever, interesting brief choruses by sonic ing band; there are some good solos bass and Lester Young to the tenor. of the other sidemen. The set is also (especially by Clark Terry); and the There is one big band number and the of historical value in terms of one facet LP recalls happy, nostalgic memories rest are sextet sessions including a of activity in the mid-bop era. of the waning years of swing era big previously unissued warmup, called ERROLL GARNER - DODO MAR- b..nd prominence. Good notes by Barnet here Waitin' for Benny. Also previously MOS A — **** Piano Contrasts (Con­ himself. The hand that held the volume unreleased is a short take cut m re cert Hall LP CHJ-1001). Reissues of control was a little unsteady. hearsal (Blues in B) and seveial cho­ Dial session:, made several years ago. ruses on other tunes spliced from BUNNY BERIGAN — *** Bunny Red Callender ind the late Harold Plays Bix (Victor EPAT 434). A 1938 unissued takes. Among Christian’s col­ West accompany Garner w’hile Harry session in which Bunny and a small leagues on these 1939-41 meetings were Babasin (cello and bass) und Jackie Miles «ire with Dodo. Two highly in dividual stylists in characteristic form. BOBBY HACKETT— **** The Hackett Horn (Epic 12" LP LG 3106). MAIL ORDER JAZZ Hackett sessions made for Vocalion from 1938-’40. Among those on hand on some sides are such men of free-speak­ FREE ing distinction a^ Georgi* Brunis, Pee Wee Russell, Eddie Condon, Brad Gow­ ans. Dave Bowman, and Ernie Caceres. Special Offer During July and August Almost all the sides, however, are too secton-heavy in the background w.th not enough real ensemble improvisa­ tion. In general, however, the collec­ Here Me Talkin' to Ya tion is a pleasure. Especially, of c >u se, because of Mr. Hackett’s neatly lyri­ by cal horn. Vocal by Linda Keene on Blue and Disillusioned. Full peisonnel and recording dates given. Vat Shapiro (of BMI) and Vol Hentoff (of DOWN BEAT) JOHNNY HODGES ***** Hodge Podge (Epic 12" LP LG 3105). A dozen excellent small band sides cut The book that everyone*» talking about! by the Rabbit for Vocalion between 1938-’39. His then Ellington associates included Cootie W’illiam.-, Harry Car­ with every $15.00 order ney, Sonny Greer, Lawrence Brown, bassist Billy Taylor, Freddie Guy, See our full column ad on page 18 of this issue. Otto Hardwick, and Duke himself en piano. These are ageless sides and Epic deserves credit for reissuing them along with several other important sound- of that era in Ds Epic in Jazz MAIL ORDER JAZZ series. I wonder what gave thi girl who wrote the notes the idea that thes< 25 Spruce Street Ellington sidemen were “Dixie musi­ cians.” Full personnel and recording (Turn to Page 23)

18 Down Beal

MUSIC ON THE

Clarinet (Matlock)

Trombone (Schneider)

The player privileged to own one of these new, limited-production instruments find« new M*ope for In artistry. For Ix*blanc han given to the tax iphone a new voice of in­ finite refinement and elegance., rapable of every nuance of tonal coloring. And along symphonic voice lehlanc has established for the saxophone a new perfec­ tion >*f intonation, and new optional finger­ ing that make« even the trickiest passage easy. Ask your l^eblanc dealer when you may have an opportunity to try this revolu­ tionary new Leblanc creation

Hear Vincent Abato and his Leblanc Saxophone in ‘‘The Paul Creston Sonata for Saxophone md Piano." brilliant new ( olum- bia recording. It's No. ML-4989 at your dealers. Drawn Beat Heres Matty Matlock's Style

BAND ENS

BRIDGE CLAR.SOLO

Paul prieti

TROM. BREAK

I Never Knew (I Could Love Anybody Like Cm Lovin' You) By Tom Pitts. Ray Egan. Roy K. Marsh, and Paul VI hiteinan. Copyright 1920/Copyright Renewal 1948 Leo Feist Inc. Used by Special Permission Copyright Pro­ prietor.

The solos in this Up Beat, as played on the same tune, enabling you to Eddie Miller, also front the original by clarinetist Matty Matlock, tenor compare easily styles of three jazz­ Bob Cats gang, plays the third eight saxist Eddie Miller, and trombonist men. bar section of What Can I Say After Elmer (Moe) Schneider, are taken I Say I’m Sorry. directly from the soundtrack of the Matlock, well-known alumnus of the new jazz film, Pete Kelly's Blues, Bob Crosby Rob Cats, plays the Schneider, a top studio tramist, and should be of much interest to bridge and last eight bars of / Never plays the first 16 bars of Never Knew instrumentalists, in that they all are Knew as his solo. after a pick-up break. Two Edd

ENS SOLO

ENS. o o Firn

I Never Knau (I Could Love Anybody Like I'm L You) IK Tom Pitts, Ruy Egun, Roy K. Marsh i*nd Paul Whiteman, Copyright 1920/Copyriglit Renewul 1948 Leo frist Inc. l’sed by Spécial Permission Copyright Pro­ prie* or.

EN» TROM.SOLO TENOR SOLO

und Pro

ENS Find imal

nist, ñew WHil CAN f SAY AFTER I SAY l'M SORRY, By W'alter Donaldson and Un* Lyman. Copyright 1926/ Copyright Renewal 1954. Miller Muhíc Corporation. Uscd By Special Permisión (Copyright Proprietor.

NEW PRICES! EAST COAST JAZZ PACIFIC JAZZ RICORDS . . . critics applaud . . . (Jumped from Page 18) EFFECTIVE AUGUST 1st dates given. Two sides not included in 12* LONG FLAY 23.9« Ind. Tax HAL McKUSICK QUARTET this album (Mandv'lust and Rendez­ vous in Rhythm, are available on Epic 10* LONG PLAY $2.9« Ind. Tax hi-Fi LP BETHLEHEM bcp-i* EP EG 7045—Here’s Johnny Hodges). BILLIE HOLIDAY — ***** Lady Day (Columbia 12” LP CL 637). A dozen of the greatest jazz sides ever made, the 1935-’37 small band sessions with Teddy Wilson, Roy Eldridge, Ben­ ny Goodman, Ben Webster, Chu Berry, Bunny Berigan, Cozy Cole, Buster Bai­ ley, and several others. An endlessly enjoyable record. NEW RELEASES 13* Long Ploy JAZZ WHY COAST JWC-500 JIMMIE LUNCEFORD — **★★ W *8 ind ten Lunceford Special (Columbia 12" LP AN EXCEPTIONAL COLLECTION OF TOP WEST COAST CL 634). George Avakian has added JAZZ PERFORMANCES Mulligen-Beker Roge'r-Shenk-Guiffre and mvt greet juz four more numbers to the previously musicians on one 12” Hi-Fi Recording released 10" Lunceford Special LP. He Aveiieb'r 3 Record Extended Pity Album JWC 1000 has not, however, provided complete S3 98 incl. tex personnel or recording dates—both es- PACIFIC JAZZ NLFI 13“ long Ploy $3 «• BUD SHANK. Trummy Young, the great Jimmy RUSS FREEMAN and BRINGS BARRY GALBRAITH Available Extended Play EP4 30 end FP433 OSIE JOHNSON drums Crawford. Willie Smith, tenor Joe PJ 1203 CHET BAKER QUARTET MILT H'NTON bass Thomas, Edwin Wilcox, Al Norris, (Recorded al the TIFFANY CLUB) available at your dealer» cn Moses Allen, Enooky Young, Gerald Available Extended Play EP4 31 and EP4 32 BETHLEHEM RECORDS Wilson, and Paul Webster. This was PJ 1204 LAURINDO ALMEIDA QUARTET featuring BUD SHANK one of the best of the large bands und Available Extended Play EP4 I0 and FP4-22 often, one of the most imaginative. It PJ-126S BUD SHANK QUINTET featuring SHORTY ROGERS and Bill PERKINS had style, power and ease and is still Available Extended Play EP4 34, EP4-35 and EP4 36 a ball to hear. Included are such Lunce­ ford perennials as Uptown Blues. White PACIFIC JAZZ HMt KT ton* Pfey $2 «• ind Im ypatig* THE ARTISTRY OF PJ-20 BUD SHANK and BOB BROOKMEYER (w.th tiring») Heat, and Mary I,ou Williams' H hat's Available Extended Play FP4-2* frètent» MILES DAVIS Your Story Mornin’ Glory. PACIFICA 10“ long Play »2.VB ind las Thelonlon* Monk, Percy Heath, Kenny Clarke DJANGO REINHARDT Pl 802 KITTY WHITE SINGS with CORKY HALF HARP LP 200 Vol. 2 The Man I Love Bemsha Swing Swing from Paris (London LB 810). Available Extended Play PE-402 LP 1*6 Vol. I tags' Groove—Swing Spring Eight sides apparently cut by Django 117 Quintet with S Rollins, H. Silver between 1934-39 with the Quintet of the PACIFIC JAZZ ENTERPRISES, INC IBS Quintet with H. Silve 0. Shildkreut 7*14 MAROSI AVE.. HOUYWOOO 4*. CAUF 112 "Walkin' "—"Blue N Boog • with J J Hut Club of France. Stephane* Grap- Johnson. Lucky Thompson, Horace Silver pelly on violin and the unquenchable 161 Quartals with John Lowis, Horace Silver Mingus Django are featured Rating is for the 154 The Crmposltionc of Al Cohn with Al great guitarist. BLUE NOTE Cohn Zoot Sims John Lewis KU Blue Period with S. Rollins W Bishop TWO EXCITING NEW RELEASES 124 Tha New Sounds with Rollins Bishop ARTIE SHAW — **** My Con­ certo (Victor 12" LP LPT 1020). An A New Dltcnvery Watch tor Miles' laleit—his At st :n 12" LP LP 7007 Quartet with Oicer PetHfoid, Red Gar­ interesting set of big band reissues THE PROPHETIC land, Philly Jae Jonas incl. "Gram made between 1940-’45. Highlights are: Has«," I See Your Face Before Me," HERBIE NICHOLS etc. New sides never releas:d before. Lips Page in St. James Infirmary; Roy Avai'oble at your dealers Eldrige in Summertime; Les Robinson’- Ultra-mndgrn pianist playing alto in the Blues from William Grant his own compositions. ÍSend for FREE Catalogue Still’s Lenox Avenue Suite (the trom­ With Art Blakey, Al McKibbon vutige Il relu. In«*.bone solo therein is, I expect, by Vernon BLP 1068 44t WEST 50th $T • NEW YORK 19 Brown rather than Jack Jenney as as­ Tha Third World Bl«« ChopeHchs serted in the notes); Billy Butterfield Stag Tempe it in the Concerto; and Shaw himself in Onece Una several places. This was often a beau­ I AZZ tifully blended band and one of the few Afro-Coban Holiday J MAN (as shown on some of these sides) that KENNY DORHAM used strings imaginatively. As I re­ With Jay Jay Jahatan Hank MoMey, Cadi RECORD SHO member, Paul Jordan was responsible Payne, Horace Silver, Oscar PettHord, Art 2689 W. Pico Blvd. for the skilled use of strings in the ar- Bloker. "Patato1 Valdet Icoaga) langing, and he is also represented here BLP 5065 Los Angeles 6, Calif. as a writer of two originals (The in­ Minor » Holiday Afrodisia itial, non-jazz part of Suite No. Eight Sprcialiiing is particularly interesting). Notes COMPUTE CATALOG ON REQUEST lacking in full personnel details and Collector’s Items the r recording dates. Traditional LP's

Tatum (Brunswick 12" LP BL 54004) Reissues of Decca session- recorded

Aucun! 10. 1955 around 1940. Six are Tatum alone and MAIL ORDER JAZZ If you enjoyed the two numbers six present him with Tiny Grimes and 25 Spruce Street from Slam Stewart. It’s all dazzling, par­ ticularly when Art’s on his own. Art Jericy City 6, New Jertey PETE KELLY'S BLUES. is even better when he has more space than three minutes as his recent series NEW POLICY: All records. LF*, 78'«, •'» and "Just A Closer Walk With Thee," EP's, are told at full list price There are no and "Didn't He Ramble," played on Clef so strikingly indicates, but shipping charge« of any kind. Only foreign these are well worth having. order* must add $1.00 for shipping and by Teddy Beckner, you will also handling. No C.O.D.'i to A.P.O. or foreign addresses. All C.O.D orders must bo accom­ enjoy the LENNIE TRISTANO-ARNOLD panied by $2.00 deposit. Prepaid orders save the C.O.D. Fees. Order your want* today. No ROSS — Holiday in Piano (Em­ substitute* unless« you specify. Credit voucher* TEDDY BUCKNER DIXIELAND Arcy LP MG-26029). Reissues of Key­ will be sent on over-payments. All records new, factory fresh. Safe insured, prompt ship­ JUBILEE LP Album in which he note sides made several years ago. The ments. Minimum order of $5.00. plays 8 sides in the real traditional Tristano sides include Billy Bauer and COLUMBIA 12“ LF* $3.9$ EACH Clyde Lombardi (with Bob Leininger 452 Charlie Christian with B.G. Dixieland vein for whch he is 441 Gene Krupa Sidekicks on bass on one). Ross’s four include 417 Lady Day—Billy Holiday famous. some fine Benny Carter alto, first-rate 422 Brubeck Time—Dave Brubeck 414 6 Clayton Jams B. Goodman Allan Reuss guitar, and good rhythm 512 The Three Herds—W. Herman from bassist Arnold Bernstein and 510 Dava Brubeck at Storyville 547 How Hi The Fi—Clayton. Cohn drummer Nick Fatool. Set is particu­ 544 Jan Goos to College—Brubeck larly valuable for having restored to 541 Chet Baker and String GNP 11 public print Tristano’s absorbing early 557 Jam Session at Carnegie—M. Powell linear investigations. SAVOY 12*' LF* $4.9» EACH 12000 Charlie Parker Memorial SARAH VAUGHAN — ★★★ With 12001 Immortal Charlie Parker 12002 Erroll Garner Vol I John Kirby and his Orchestra (River­ 12001 Erroll Garner Vol. 2 side RLP 2511). Four rare early 12004 Marian McPartland Vol. I I2C05 Marian McPartland Vol. 2 "THE PROFESSIONAL Vaughan sides cut originally for Crown 12004 Kenny Clarke in January, 1946. Accompanying her 12007 E nie Wilkins-Kenny Clarke ARRANGER COMPOSER" 12000 E. Garner-1. Taylor was John Kirby’s unit with Clarence 12001 Genius of Charlie Parker by Ressell Garde Brereton, Buster Bailey, Russell Pro­ 12010 Kai and Jay cope and Bill Beason. Album also con­ NORGRAN 12“ LP'i $3.98 EACH Arroagtr CMfector it Ite ScoMtloaai Nt« Ate« 1000 Interpretations by Stan Gets tains four instrumentals by Kirby cut 1001 Consumn-ate Artistry of 8 Webster “lady Befraaco ate Oicar Peters« in September of that year with the 1002 Modernity of Kenny Drew Blay tearfe tershwla" same personnel except for George Taitt 1001 Afro D uy Gillespie 1004 Memories of Ellington—Hodges (rated WWWWW Down Boat 4-20) on trumpet, Hilton Jefferson on alto 1005 The President—L. Young and Hank Jones on piano. It’s Hank 1004 Progressive Mr. DeFranco this IAS Hi« teik his 393 awsical eumples. 1007 Journey Into Love—L. Bellson who makes the instrumental s’des par­ 1000 Interpretation by Geti Vol. 2 Ne« 1 different systems if herein) • voicing ticularly interesting from a modern □ 1001 More of johnny Hodges arranging • caunterpaint • madulatiw • vocal □ 1010 George Wallington Strings jazz perspective. Otherwise they’re " ■*1011“ Louis Bellson Quintet arranging • etc., etc. Keep up with the times! rather overpolite and characteristically 1012 Artistry of Buddy DeFranco 1011 Another Evening with Ventura—McCall make mire miney! be in demind! «rite irrange overstylized and lower the rating for Q.....1014 Artistry-...., -of --Tol ----F*rlow ments that musicians rare abaut ! ! this set. As for Sarah, she’s delightful □ 1015 Benny Carter Play* Pretty □ 1014 DeFranco-Peterson Play Gershwu and it’s also kicks comparing the in­ 1017 ■ud Powell Jan Original Sead oofy *4.08 today tor your copy to genuous-voiced Sarah in the early 1010 Music For Loving—Webster with Strings Sarriagfea Hoaeo PubUshor*. 3397 Floyd Ter., 1011 Creative Teddy Wilson stages of her distinctive style with the 1020 Driving Louie Bellson Hollywood, Co«., (or c.o.d.) contemporary poised and assured “di­ 1021 Our Best, Geft-Pret-Dit Lester Young Send Per free brochure 1022 vine one.” 1021 Diny Gillespie A Strings 1024 Johnny Hodges Dance Bash 1027 Interpretations of Tai Farlow JOE VENUTI-EDDIE LANG — 1020 Ralph Burns Among the JATPS With Tommy Dorsey, Jimmy Dor­ NEW HI-LO’s LP EMARCY 12“ LF* $3.98 EACH sey, Phil Napoleon (Label “X” LP □ 14000 Dinah Jams—Brown, Ferguson. Reach •M HLIl, I HEWN LVA-3036). Four sides have violinist n 14001 Erroll Garner Contrasts f~| 14002 Jam Session—Brown. Ferguson. Roach Venuti and the late, brilliant guitarist □ 14003 Paul Quinichatte ton» u naa uri Q $3.15 Lang in a 1929 Phil Napoleon unit. The 14004 Sarah Vaughan more interesting four include those 14005 Clifford Brown butto a» in» «u □ $5 85 An 14004 Helen Merrill 1427 'M - Irto CtoltoJ with just Venuti, Lang and pianist n 14007 Clark Terry n 14000 Brown • Roach in C Frank Signorelli (two in 1928 and 14001 Jam Session—Ferguson. Cooper. Ium«« «m on $585 two in 1930). On one of the 1930 dates 14011 Dinah Washington WWW 8 MCMSTU there is a tenor added (said by the ALLEGRO 12“ LF* $2.98 EACH Onto» am my wQtS.» notes to be Pete Pumiglio) while on •405 An Hour with Artie Shew the second, there’s a clarinetist. One □ •4M Artie Shew Hour n 1510 Buthkin-S«fr«niki-Wilton Groups GOLD STAR RECORDING STUDIOS discography says both are Jimmy Dor­ n 1511 Duke Ellington Mix OtOt» WVVItt 1593 Diny Gillespie—Bird sey. The rating would be higher except 1592 Sarah Vaughan—Love- Man-Don't Worry for the collective heaviness of the four n 1400 5. Vaughan—Tenderly-lody $ Soul Napoleon sides, but the LP is recom­ 3119 Mildred Bailey Sings mended, especially for Lang. The hot BETHLEHEM 12 " IP'» $4.90 EACH 1020 Milt Hinton Quartet Venuti is also worth digging. Urbie Green □ 11 Kai Winding B J. J. Johnson BOB ZURKE — Tom Cat on the 12 Don Elliott IEC0US - INSTMMENTS • MUSIC - ACCESSORIES Hal McKusick Quartet Racarda—W» carry «II records—Jan (including Keys (Victor 12" LP LJM-1013). Liner Chris Connors small labels) Classical-Folk-Popular-eto. notes give no personnel but these were lectremeel»—We carry all Instruments and Ac­ NORGRAN SETS LP'i $10.08 EACH cessories Crosby-like big band sides but in 1938. n 2000 Get* At The Shrine Matic—All Music-Arrangaments-Orchestrations- Arrangements are generally dull and □ J4I Norman Grani' Jan Concert #1 Librettos-etc. Everything Brand New — Factory Fresh — Fully aside from Zurke and an unnamed tenor Guaranteed — Low Postage — Send for free (who may be Eddie Miller), there is Catalogs, Price Lists, Further Details RECORD CITY little spontaneity. But it’s good hearing 177$ Brewdwey______New Yerh 32, N. Y. Zurke’s driving piano again. $10.00 Order

Down Beal the readers of this column, I know these “enterprising” shopsters, yuu as one of their largest collective problems the customer won’t have much of a has been: Where lo buy good equip­ chance on the “returns.” 4M ment, that they know is fully warrun So let’s take a look at what this move Iced, and from a dealer who will stand to mail distribution system by Radio By Robert Oakes Jordan back of his published sales policies. Craftsmen will mean to, say the service The majority of these hundreds of man stationed in Guam where there IN THE WORLD of hi-fi, one of reader letters are in the nature of are no hi-fi selection centers; or the the best-known trade names is Radio problems the individual owner or pros­ bandsman who travels and never can Craftsmen. In the past, it name has pective owner has run into in pricing, be sure of which is the retail -tore been one of the bywords of every major testing, and buying hi-fi gadgets. Many, with an honest policy; or the younger dealer in high fidelity equipment, and many letters include all of these and hi-fi enthusiast who wants good equip­ the firm has provided the public with the additional problem of faulty equip­ ment at a price which doesn’t include excellent hi-fi results foi many years. ment. All manufacturers, including the middle man’s profit. All of these Now, however, they have taken a Craftsmen, have their “lemons,” and want some assurance that a warranty radical step, and have completely elim­ in many cases the dealer is a buffer policy protects them in the case of inated dealerships. They sell their pro­ between the manufacturer and the cus­ lemons. ducts only by mail. tomer. Well, Radio Craftsmen has a solu­ I have no idea of what the new policy From many wholesalers and dealers tion for each in its new policy. Not will produce, nor what it evolved from, like Allied Radio in Chicago, you can only has their equipment been good in but I do know that if the gentlemen buy with confidence, especially when the past, but now it must be made, at Radio Craftsmen succeed, you will they have been in business as long as inspected, and quality controlled on even see a lot of the Sunday morning hi-fi Allied Radio. In many cases this is stricter standards then before. Ciafts- “economists” in the industry doing the not true, and the “dealer” is in busi­ men is not the first to do this direct same thing. From the letters I have ness only long enough to milk the mail bit—Heath Kit has been success­ teceivid in the past several years from profits from the hi-fi fatted cow. With ful for years at it, and their equipment is exceptionally good. The next few years will see many hi-fi manufacturers and dealers fall by the wayside, people who buy the equip High Fidelity Buyers Aid inent are not nearly so interested in the Noh. 69, 70 boom, bang, bumps, and grinds of

SUPPLEMENTAL BUYER'S AID SUMMER 1955 startling hi-fi as they once were. Down Beat Magazin« File: Amplifier Now, and rightly so, they want valu« Type: Pre A Power Unit: Model 2199B Amplifier Size: 6lxflixl3 inch«« and results for their dollars, and thi Manufacturer: Bell Sound System«, Inc• Weight: lu pound« results are manifold in their favorite Address: 555 Marlon Road, Columbus,Oblo type of reproduced music and voice. Those who buy by mail should be happy Tl.qT DATA *dvortioing Claims Eborat_jxJ±AlS with the price drop in Radio Crafts­ men »“quipment, and with their 15-day Power Output: 12 watts Found aa advertised trial guarantee you can have your fill Frequency of “testing” your system without some Response:*.5db, -0 to 20ke. Essentially aa advertised Harmonic overanxious salesman twisting the Distortion: less than 14 at Slightly higher than 14 knobs of his “B-50” control panel. 12 watte. (using laboratory tubes) In this case, “factory-tv-you” is a Huis end Noise break and may be u trend iu the in­ Level: 70 db below retea output. Found ae advertised dustry which will happen despite the Inputs: I mag., 2 crystal. Tape, overabundant conversation against it. Radiol or similar). Found as advertised I can not help but feel there is an Loudness Control,B^as and Treble. Found as advertised Outputs: 8, 16 ohms. Fouad as advertised honest dollar to be made for those ¿elector 7 position equalized. Found advertised who try direct mail distribution every Rumble Filter ctive time I see the mammouth Montgomery Ward Building, the many Sears Roe­ Thi« unit signed as tested in buck stores, and the amount of tax money the U. S. treasury collects each year all done through our own United SUPPLEMENTAL BUYER'S AID SUMMER 1950 States mail. Down Beat Magazine File: Tone Am Type: Monaural, univeraal Unit: Livingston Universal Tone Ars 3ize: (12" and 16" diaca) Manufacturer: Livingston Electronics Weight: About 1J pounds Address: Livingston, New Jersey. Met Book" Of -Month

TEST DATA Advertising Claim« laboratory, /?e.tn. Club Plan Disc Sets

Stylus Pressure: 6 to 30 New York—The Metropolitan Opera grams. Found as advertised company and the Book-of-the-Month Am Height: adjustable. Found aa advertised club are collaborating to tart u mail order record business, The latter will Tracking manage distribution and sales exclu­ Ability: No Claim. Found to be one of the sively, while the Met will control artist best we have yet tested. and repertoire. Resonance: No Claim. This am ia well damped Six different operas in partial or with no spurious points complete recordings will be ready for Tracking Error: No Claim of resonance. subscribers next spring. These records in ray company^— 112"A16"). , 2 ; degrees* are expected to sell to subscribers at Lab Note This em has a very low vertical ms« find provides laooratcry: en inexpensive solution to a high fidelity tone am $3.60 for a 12-inch LP, Plan-: call for which cun e. ploy any type of standard cartridge. release of about six opera sets a year.

Auguai 10, 1955 25 easy, gliding nr Lid.c line; a complacent and crisp, yet with an intensely ironic dow* mood; the composer’s restraint; and, network of nuances. Debussy’s Syrinx slat probably abave ail, instrumentation on for Unaccompanied Flute (Mr. Baker cool instruments. performing) and Roussell’s Trio for W ith hopes that no one will be en­ Flute, Viola and Cello (Harry Fuchs couraged to produce an LP of Cool playing the latter) are delivered with COOL MUSIC, man, has been writ­ Music for Hot Summer Nights, I have similar brilliance. ten for centuries, long before the hip­ called a few from the current record The whimsy and the graceful sweep sters happened. Before Dizzy made the issue that are particularly comfortable of Mozart are transmitted in splendid cool scene, gentlemen like Bach, Mozart, to listen to on these sultry days. But taste by the Amsterdam Duo, Nap de and the French impressionists were don’t expect air conditioning. Klijn on violin and Alice Heksch at blowing it that way. Their kind of DEBUSSY was probably the coolest Mozartpiano, on the sonatas in D Major cool is to be taken literally, because of them all. His musical imagery fre (K. doo), E-Flat Major (K. J81) and the effects arr actually cooling, and it quently is aquatic, and accordingly his E Major (k 11), and on Variations on makes for mighty agreeable listening instrumentation lends to the rippling, on hot summer days. undulating, or crystalline effects. This .3131). Brittle tones and It isn’t to be inferred that Bach, is the case with his Sonata for Flute, sprightly animation characterize the Mozart, et. al., were cold or even cool Viola, and Harp, performed on the re­ performances. at heart, or that the new classical re­ spective instruments by Julius Baker, Handsomely packaged for giftgiving, leases to be discussed here have no Lillian Fuchs, and Laura Newell (Dec­ Ravel’s Daphins and Chloe (Suites 1 greater value than cucumbers. What ca DL 9777). Temperature aside, this und 2) is dramatically interpreted by makes a classical opus cool often is an trio gives a sparkling reading, breezy Antal Dorati and the Minneapolis Sym­ phony orchestra with a tiine assist from the Macalester College Choir of St. Paul, Ian Morton directing (Mercury MG 50048). The reading is smooth and well-sounding, though fuzzy surfaces detract from the purest musical sound. ON VICTOR, the brilliant Piano Con certo No. 2 of Chopin and the Concerto No. 1 of Saint-Saens are essayed by pianist Alexander Brailowsky and the Boston Symphony orchestra under Charles Munch. The balance of orches­ tra and soloist is felt best on the Saint- Saens, where the probing is penetrating. On the Chopin, Brailowsky is competent in matters of lightness and dexterity. Though strings are warmish instru­ ments as a rule, Shostakovich is cool by dint of chromatic eeriness and rates in this discussion therefore. A pair of Russian ensembles called the Tschai- kovsky and the Beethoven Quartets yield Shostakovich’s Quartets No. 1 and No. 5 respectively, making the most of the rich textures and the tensions (Van­ guard VRS 6021). So much for music­ thermometer relations. The music of Vivaldi is beautifully' delivered overall by the Virtuosi di Roma, directed by Renato Fasano. A new' Decca album focuses on four con­ certi, the Concert Grosso in A Minor, and the concertos in G Minor, C Minor, TED WEIS and E Major. The string tone is elegant and the engineering firstrate. IT IS PERHAPS too much to expect YORK CIVIC OPERA CO that Joseph Fuchs could approximate NEW the rich violin quality of David Ois- trakh, who also has a recording of New York. N.Y. Cesar Franck’s Sonata for Violin and Piano; but Fuchs’ instrument is vivid enough, and his reading of piece with Arthur Balsam at piano has emotional depth and himinoisty. This introspective opus is backed by a delicately restrained sonata of Faure on Decca (DL 9716). —les brown

New Guild Head New York—Metropolitan Opera bari­ tone, John Brownlee was reelected pres­ ident of the American Guild of Musical » • unra viscaa$M\ pifffii» ibstibhents laa aita balf i kithf Artists according to an announcement by the National Board of Governors. Also Hears Desmond, Terry The Blindfold Test (Trademark R«« U& Pat. Off.) Russo Discusses Basie Tradition

D/ Leonard Faathor 2. Paul Dasmead. Will I Kmw? I Fan­ Arrange! and Up Beal columnist Bill tasy). With the Bill Batas Slaters. Russo currently is enjoying u Euro­ There must be some other syllables pean visit. During several weeks in for vocalists to use betides «» and England he found his services as a wall when they don’t use words. I teacher in unprecedented demand; later object to the use of voices in this waj he departed for a continental tour of I’m nutty about voices, 1 guess I should U.S. army bases, for which he took his state as a preliminary comment. In valve trombone along und led a modern fact, my particular interest right now jazz quintet. is in the work of Karl Orff, a German The Blindfold Ted below is the sec­ composer who writes almost exclusively ond installment of one taken by Bill vocal compositions. the day before he sailed for Europe. This melody, which was stated at Bill's comments were tape recorded; as the beginning and the end, played by usual, no information was given before the alto saxophonist, was terribly or during the test, about any of the marred by the repetition of the quarter records played. notes and the eighth notes. The rhythm is, 1 think, tun into the The Records ground, and it wasn’t made better each I. Coss* Basis. Ska’s Jest My Site time it was used. The actual improvisa­ I Clef). Comp. Krai* WilUas; Frank tion of the soloist I thought was nice— Wess, flste; Thad Joaos, frampat. Gos nothing stunning. His lower register was exceptionally good. A couple of When that started off I thought it low notes on the alto especially—what was going to be a continuation, that I imagine would be conceit F, concert the introduction with the guitar was G Flat. going to be the actual tune itself. This It was surprising that his uppei brings to mind the whole problem of register work wasn’t as good, since Leater Young the Count Basie hand as it exists now. he is a guy that is known for that if I feel that the band should have taken Maybe Pres Could Do It it’s Desmond. His intonation was quite those elements which were strongest a bit more unsure than I’d ever noticed within them and continued playing; Basie band, it didn’t have a depth to before. that if it was going to develop, it it. It had a lightness, a fluffiness, and As a whole, I would say that it is u should simply be a problem of elimina­ moreover there wasn’t this hardness perfect example of the “prettifying” of ting the things that were not of the of attack which is most characterized jazz that I object to—the use of con­ best quality. The evolution should be by the new saxophone section. It’s too a very slow thing—the band 'did such punchy, kind of Lunceford-ish. I liked ventional chords and conventional techniques, all put together in simple a wonderful job in the first place, the lightness and femininity of the old forms. I’ll give this two stars. there wasn’t a need for too much band—without any lack of virility, of change. course. 3. Clark Tarry. Co-ap (EmArcy). Tarry, Particular points that cam* up while 1 think that the use of a flute is I was listening to this record were, entirely incongruous with the band. trumpet: Jimmy Cleveland, trombone; first, the difference between the old Perhaps Lester Young could justify its rhythm section with Jo Jones and use in that band, although I even and Kick Haadersoa. Walter Page and this rhythm section doubt that. I think I’ll give this two stars. The which seems more concerned with play­ The content of the flute playing, prrimary objection that I have to the ing on two and four. This is kind of secondly, was very unimpressive to me. playing of all three soloists, tiumpet, a cult of being swinging nowadays. It This seemed like a rather overt use of baritone, and trombone, was in terms has to be on two and four. double-time figures all the way through. of sound. In fact, it was so disturbing Well, on all Count Basie bands you I would like to see a guy play a line to me that I thought it might be the could snap your fingers to it easily, but that makes pretty good sense and if machine for a moment. There seemed it didn’t seern to be a contrived neces­ the double-time was a neccessary com- to be some sort of a veil covering them; sity. It didn’t seem to be so determined, ponent, it would happen. they seemed to have a great deal of or such a conscious effort on their 1 didn’t think it was required here difficulty getting the sound out of the part. In addition, I didn’t feel that the by the content of, the rest of thecom------instrument. rhythm section had that jelled quality position. In other* words, I feel that This is very conspicuous in the work that I liked about the old rhythm sec- an improvising soloist should always of the trumpet player. The connection tion. improvise in terms of what has. pre­ between the tones seem to require so The guitar and the bass and the ceded him and what is to follow him. much effort. It sounds locked in the high hut sound seemed to be just one His improvisation cannot be viewed as horn and couldn’t be freed. For in­ sound with the old group. As far as an entity. stance, when Harold Baker plays a the band goes, it sounds so dance­ Some of these guys that are writ­ string of eighth notes it’s as though bandish, and 1 despise everything ing for the band are changing the he’s loosening them, so to speak. dance-bandish from Will Osborne on character of the band. This may not The most interesting thing with all or back. be a Neal Hefti arrangement, though the soloists was that they all stopped This is particularly characterized by I suspect that it is, still it is not a when they got to the bridge of the the saxophones—they’re starting to use Count Basie arrangement, and that’s section, no matter what they were theSe deeper, more open positions. The my objection to it. I’ll rate this two; doing, whether the thought was com­ baritone is used more as u bass instru­ it’s just not in the true Basie tradi­ pleted or not. It was particularly true ment; that was the charm of the old tion. of the baritone soloist, who was carry-

August 10, 1955 27 ing forth a aouble-time figure, and it mque. The double bass is capable uf so much time leading up to it, and was just logical tu go into the bridge great flexibility and great facility, as so much time following it, that the harmonic portion, und he stopped com we know from our symphony col­ total effect was one of segmentation. pletely and began again. leagues. The interesting thing about thi*. was This was what I considei kind of an However, the sort of nasal sound that it occurs to me the portions in old-time jazz idea mixed up with a that men who aren’t really trained as the middle were improvised, and yet new idea. At least the old-timers played arco bassits get is sort of objectionable for some reason I suspect that they four bars and four liars and four bars. to me. The alto sound, just the sound weren’t. This is kind of a compliment They didn’t try to mix with it this of the passages he was playing, I to whoever wrote it, if it was written, more asymmetrical concept of improvis­ thought was delightful. The bassist, because he was able to simulate the ing over the sectionalized lines, so I incidentally, was very impressive when improvisational texture remarkably in wasn’t terribly pleased about it. I he played pizzicato. written-out portions. I don’t have any thought the first eight bar riff was I suspect that Charlie Mingus had basis for saying this. This is strictly kind of cute—Elhngtonish—might be something to do with this. The con­ feeling—I’ve never heard this record Ellington’s small group. nection between the slow portion and before. the fast portion, and the fast portion It’s interesting—this is kind of aton 4. Charlie Ming«». Gregorian Chant and the slow portion, seemed to me en­ ality within tonality. For instance, it (Savoy). John LaPorta. alto. tirely devoid of purjiose. In fact, it starts out on a minor triad, the first Having heard Koussevitzky play made the entire composition primarily 30 seconds it’s just kind of a Volga bass, I don’t think I could ever be im- introduction and ending. Boatman composition. I don’t feel that presed by the average jazz bassist play­ It seemed that the important thing this combination of too-obvious diaton­ ing arco. This is a very difficult tech- was the fast portion, and yet there w*as icism aqd »tonality makes much sense. I’m inclined to think, too, that the new directions in music are not necessarily atonal as we think of them. For instance, there is a dissonant tone to this composition that I find objectionable. Partly becaust* of its jux­ taposition with other too-siinple ele ments, like the drums playing with the sticks, and afore-mentioned simple, somewhat naive introduction, and partly becaust I feel that certain of these dissonant techniques have to be thought about a little before we accept them as a general principle. I myself am formulating an esthetic basis at the moment, and I can’t, right now-, make any evaluation of the particular justification of certain of these dissonant techniques as a whole. I would rate this record two for effort. Symphony Of Air Assured Of Life New York—The Symphony of the Air is being kept busy with enough engagements to insure their existence for another full season. Having just completed a tour of the Far East sponsored by the state de­ partment and the American National Theatre and Academy, the group moves on to Stony Brook, L. I. Summer Fes­ tival and will play under the direction of d’Artega. This will be followed on July 31 with an appearance at the American Shakespeare Festival, Strat­ ford, Conn., under the baton of Peter Herman Adler. The group is also scheduled to play the Empire State Music Festival in Ellenville, N. Y., between Aug. 3 and Sept. 4. The conductor, according to orchestra spokesmen, will be Eduard van Beinum. Six subscription concerts (Nov. 9, Dec. 13, Jan. 6, Feb. 3, Feb. 9, and March 23) will be given by the group in Carnegie Hall. Conductors and solo­ ists will be announced later. The or­ chestra also is expected to play eight performances for the National Broad­ casting Company’s Television Opera Theatre next season.

Iluwn Beal dollar business. It is only natural that tie Spring, Mid-Day Merry Go Round, the Opry was hurt somewhat by the this coming fall. Show is a CBS net­ loss of all these artists, but in words of work program carried on Saturday Emerson’s law of compensation, “What nights. you lose in life one way, you gain an­ Red Foley played the 12,500 seat J- By Bill Morgan other.” And the Grand Ole Opry has Bar-H Rodeo Arena Camdenton, Mo., Since the departure of Webb Pierce, proven that point by consistently bring­ July 4th to capacity house. Show was a scores of rumors have been floating ing bright new artists to tht* show year joint promotion by Top Talent and Red around Nashville that other acts are after year. Foley Enterprises. Ferlin Huskey has signed a 10-day about to leave the Grand Ole Opry. Ac­ Porter Waggoner, currently number contract with Col. Tom Parker and is cording to usually reliable sources, three in the nation with his RCA-Victor scheduled to play the south and south­ Pierce will have n half hour of the recording of A Satisfied Mind, guested east. Ferlin, along with his cornball Red Foley Ozark Jubilee shortly after on Pee Wee King’s Chicago TV show sidekick, Simon Crumb, is certainly it is put on the network for an hour July 9, and then journeyed on to Cleve­ and a half. It has long been common moving up in the popularity charts. Be on the lookout for a new Huskey re­ land to guest on Pee Wee’s ABC-TV knowledge that some of the acts were network program July 11. not happy at the Opry, but Pierce was lease in a few weeks. the first big star to pull up stakes and Bill Carlisle is set for a return en­ Lonzo and Oscar have appointed Lost move out. He is still residing in Nash­ gagement on Lowell Blanchard’s Whit­ John Miller as their new manager. ville and making his personal appear­ ances out of here. To any country music artist, wher­ ever he may be, Opry has always been the pinnacle of success, and to appear on it as a regular member has always been foremost in all of their minds. Actually, the Opry itself pays the artist very little money, but the pub­ licity and prestige that goes with being a member is worth hundreds of thou­ TRADE MARK REGISTERED sands of dollars. Very few artists have quit the Opry and maintained their popularity, with the exception of Eddy Arnold and Hank Thompson, although LUDWIG DRUM CO. Thompson was on the Opry only a very L CHICAGO short time. CHicaaOi I s.A. i Arnold started on the show as a member of Pee Wee King’s band and then left the group to be a singer in his own right and now is a million

C&N TO Top Tunes BOPP

I. Eddx Arnold—Cattlf Call (R< A) 2. Porter Uugoner — Satisfied Mind (RCA) 3. Curl Smith—There She Goes (<’ol) 4. Faron Young—Live Fast, Love Hartl, Die Young (Capitol) 3. Webb Pierce—In the Jailhouse Now (Decca) We yet Our Hume Bach! Most Promising 1. Jim Wilson — Daddy, You Know On Mar.4,1955 we, (WFL Drum Co.) bought our namo“LUDWIG" What (Mercury) from C. G. CONN LTD. including Publications, machinery, tools, 2. George Morgan—The Best Mintake die«, etc., and the complete LUDWIG TYMPANI department. (Col) 3. Hank Snow—Cryin'. Prayin', II ail­ Whore do we go from here? in' Hopin' (RCA) I. Redd Stewart — Lnr’i Commands I We will service all former III dealers and their repair problems. (RCA) 2 ivory popular model from the former L * L Uno will be incorpo­ 5. Hank W illiams—4 Teardrop on a rated Into the WFL Drum production schedule. Kose (MGM) 3 We are changing our name to LUDWIG DRUM CO» and Disc jockey's reporting this issue are: will continue the manufacture of the entire WFL Drum line. Cliff Rodgers, WAKK, Akron, Ohio; All of us hero, at WFL thank you for making this change possible. We Ted Crutchfield, WCMS, Norfolk, Va.; assure you of our Interest and hopo to servo you promptly in the future. Dal Stallard, KCMO. Kansas City, Mo.; Randy Blake, WJJD, Chicago; Johnny Rion, KSTL, St. Louis, Mo.; Chuck Neer, WIAM, Williamston, N. C.; Bob LUDWIG DRUM CO. Strack, KWKH. Shreveport, La.; Jim Wilson, WAVE, Louisville, Ky.; and ¿tee Tommy Edwards, WERE, Cleveland. 1721 N. DAMEN AVE. • CHICAGO 47, ILLINOIS

August 10, 1933 and June Christy is set for a Sept. 22 ¡1 a GET Tillstrom Cuts date on the bill with Sammy Davi» Jr. JAZZ, CHICAGO-STYLE:Max Miller's Thurber Package new jazz club, called Max Miller’s Scene, opened in mid-month with the New York—Burr Tillstrom’s adap- and host at piano accompanied by Sy Nelson tatijn of James Thurber’s Many Moons at bass . . . The Erroll Garner trio and RADIO has been recorded on Decca by the Chet Baker quartet are at the Blue multi-voiced puppet artist of Kukla, STUDY Note for a couple weeks. Lea Brown mTW Fran, and Ollie fame. As he did on the ------K’ HARMONY follows on Aug. 10 ... Jo Ann Miller ABC-TV presentation of the story on is making her 'Chicago debut at the Christmas Day last year, Tillstrom Train for big opportunities in Radio and Cloister Inn, sharing the spotlight with TV with • great Homo-Study organiiation. speaks all the parts in the eight-charac­ Lurlene Hunter . . . Red Rodney cut 12 Recognised for over 50 yoors. No inter­ ter tale on the disc. sides for Fantasy records at Universal ference with reguler work . . . study in On the other side of the LP, Till­ studios, using pianist Norman Simmon* year spare time. Check courses that in­ strom’s partner, Fran Allison, sings a and drummer Roy Hayne*. terest you and send today for FREE number of Christmas songs and hymns. Dixieland is being served up at the Sample Lessons. No obligations The recording, a special Christmas Hunt Club in Berwyn by Johnny Luea* package, will be released a short time and his Blueblower*. The septet has prior to the year-end holiday. Rum- Phillip* on trombone; 41 Pon- ■ UNIVERSITY EXTENSION konka, bass; Lennie Esterdahl, banjo; ■ CONSERVATORY 1-ou Diamond, drums; Gene Bohlen, B Dept. E-StY • 2000 S Mich'qan • Chicago 14 Oppenheim To Play clarinet; Don Owens, piano, and Luca* — □ DANCE BAND ARRANGING HARMONY B n History and Analysis of Mus:c P Guitar on trumpet. Lucas is stricken with arth­ m O Cornat r Trumpet C Voica Mandolin Brahms At Festival ritis and plays from a wheelchair, man­ ipulating the valves of his trumpet with PUBLIC SCHOOL MUSIC Saiophone New York—David Oppenheim direc­ a specially designed extension . . . Let­ B □ Beginner □ Supervisor I-1 Choral Conducting tor of artists and ref^rtoire for Colum­ ter Young is current at the Bee Hive, E Double Counterpoint P Adv. Composition bia Masterworks, has left for Europe with the Modern Jazz Quartet coming Ear Training I Sight Singing to perform with Pablo Casals at the up. The Max Roach-Clifford Brown ■ Name------Age 19a.> Prades Festival. Oppenheim will quintet, which did remarkable business ■ Street ------play in three concerts, performing the for two weeks, already has been booked back for appearances in the fall and ■ City - . ------Slate ------entire clarinet repertoire of Brahms. Oppenheim has occupied the first winter. / g Music Experience clarinet desk with several symphony ELSE*HERE IN TOWN: C in-Cim.the orchestras, and makes occasional ap- original Broadway company, opens the pearances as soloist. During the l?o5- Shubert theater on Aug. 2 . . . Buddy ’56 concert season he will fulfill en- Laine's band is in the midst of a two- gagements with the Budapest and Lo- weeker at the Cold Springs resort in ewenguth String Quartets. Angola, Ind. . . . Dan Belloc's band plays Delevan Gardens, in Lake Dele­ van, Wis., in August, and then week­ New Cavalcade Label ends on 19-21 at the Centennial Terrace, Sylvania, Ohio . . . Ex-Capitol New York—A new record label. Ca promotion man, Don Foreman, now valcade Records, has made its entry, doing an afternoon chatter-records-in- ¿ärrir'-. V with D’Artega as its music director. terviews program from Lynn Burton’s The label’s first* release is a 12" LP Steak House on La Grange station entitled The Cavalcade of Music, with WTAQ. :QuMR|i0n&69J D’Artega conducting a popular sym­ ‘••.4 PASI?.--' “ Disc jockey John McCormick, who phony orchestra. already has a 1 lx-hour show from the THE SWEETEST London House every morning, has be­ gun an afternoon stanza from the Lyon CLARINET EVER MADE and Healy store on station WJJD . . . John Weicher. concertmaster of the The finest Clarinet in the world is o (Jumped from Page 5) Chicago Symphony orchestra, has been BUFFET. It «s used by more fine sym­ appointed Civic Orchestra conductor for phony and popular clarinetists than any Rhvlhm on the Road. Oth?/ regulars the 1955-’56 season . . . Etta Moten has other clarinet. See the BUFFET at your on the show are Elliot Lawrence and his a new radio show devoted to nostalgic music dealer or write us today and be orchestra and the Honey Dreamers . . . music and chatter on WMAQ called convinced that BUFFET is the one clari­ Ella Fitzgerald will guest on the Ylool- I Remember U hen. The 4rl Van worth Hour. net in the world for you. CBS radio show, on July Damm? quintet provides the musical 31. Also slated for guest appearances accompaniment . . . Pianist Ken Sweet are Doryce Brown. Aug. 21, and Jack now on nightly duty at the new spot, CARL FISCHER Teagarden, Aug. 28.j Easy Street. MUSICAL INSTRUMENT CO., 1« Chicago Hollywood 105 fast 16th Street, New York 3, N. Y. THREE-A-NIGHT YND SIX-4-D4Y: THE JAZZ BEAT: Jazz City’s sum­ The Four Ace* are at the Chicago thea­ ter until the combination of Somethin' mer schedule studded with name at­ Smith and The Redhead* and the Art tractions—Anita O’Day (and her own Mooney band take over on Aug. 5 . . . group) starting July 12, Buddy De­ Famous R.C.A. Victor Recording Artist Josephine Premice holds court at the Franco July 22, Buddy Rich Aug. 12, Black Orchid with Phil (Gordon and Dave Brubeck (a postponement) now IO« DUKOFF uses aad Mdorsm Day, Dawn and Dunk for three weeks, Sept. 9 . . . Chico Hamilton quintet now and Dick Shawn and Jane Morgan are on air twice weekly from Stroller’s at the Chez Pare«- The Chez has Doro­ (Long Beach, Calif.) via KFOX . . . the ^opper REED thy Collin* and the Miami Beachcomber* Howard Rumsey, who inaugurated jazz set to follow on Aug. 5 for 12 days, concerts at Laguna Bowl (Laguna

Down Beal Beach, Calif.), now set as music con­ tractor for summer series in the seaside amphitheater (look out, Newport!) . . . Hamp Hawes trio (Red Mitchell, bass; Chuck Thompson, drums), still on hold­ over at the Haig, signed to record with same hoys for Contemporary. Sturts with a 12' Marty Paich trio (Harry Babanin, bass; Frank Capp, OlRfcCW« drums) stay on at Pasadena’s Picka- dilly room, which becomes Talk of the Town tinder new owners. NITESPOTTINGS: Orrin Tucker At the only school in the country offering will have L. Welk’s ex-vocal star Rober­ ta Linn with him when he opens (Aug A curriculum devoted exclusively to music 3) at the Palladium with his “KTLA Crystal Tone Orchestra” ... Al Dona­ A simple approach to Schillinger hue back to L. A. for stand in Statler’s Professional coaching in solo and Terrace room while Skinnay Ennis ork dance band performance makes summer tour Bobby Troup Intensive firs* semester courses in arranging & group into Court & Leo’:; Sunset Strip supper spot . . . Harn Belafonte Professional engagements to headlines at Cocoanut Grove starting qualified students Aug. 3, where Freddy Martin band continues in house band status . . . For the top jobs in music. Over 1500 of Kitty White, seemingly coining into her our former students are earning top sal­ own at long last via records (Pacifica aries with Name Bands, Radio and T.V. Stations, with Corky Hale) and films (vocal Motion Picture Studios, Vocal Groups and Schools theme in “Magnificent Matador,” with — as Musicians, Arrangers, Vocalists and Teachers. screen credit), holds solo spot at Key- board until her N. date at Blue Berktce Scheel is row preparing »fu- uo.it* for advanced standing in degree­ Angel in September. granting institutions ADDED NOTES: Ted Kovach, one- ACCREDITED FACULTY OF TOE-FLIGHT PROFESSIONALS time Valley Timea musicolumnist who O The four-year collegiate level diploma cowrie may bo was fired for hinting at the Johnnie completed In two year* by student* with superior aptitude*, ability and ««perievee Ray story, is having fun sending copies O No knowledge of harmony or counterpoint required tor of mag that recently broke story wide FIRST SEMESTER CLASSES BEGIN open to his old bosses and those who JANUARY • MAY - SEPTEMBER made trouble for him . . . And George (the Dee) Jay wants to know if Capi­ tol’s new round building will be 45 or

San Francisco Bob Scobey opened for two quick weeks at the Black Hawk on July 8 I Newbury marking the first time there’s been 01« CIO1 Dixie in that room in years . . . There’s Boston Mass a good possibility comic Mort Sahl will go out on a college tour with the Dave Brubeck quartet this fall. They worked a concert for Jimmy Lyons in Carmel at the end of June quite successfully. Sahl is set to do an LP for Fantasy . . . Nst Cole packed the Venetian room of the Fairmont for two week- in July, and the Ames Brothers made their local debut following him. Virgil Gonsalves’ quintet set to record another LP for Nocturne . . . Cavalier’s LP of Burt Bales set for fall releases . . Brew Moore'* sides with the Cal Tjader quintet will be released on Fantasy this fall . . . Tito Puente made his local bow July 7 at the Macumba . . . Jackie Cain and Roy Kral in their KENTON PLAYS BILL HOLMAN MUSIC IN MOVIE second stand here in six months. They Sten Kenton use« composition of 1950 Westlake CoHege Grad Bill >*pen at the end of July at Pack’s for u Holman in movie "Blackboard Jungle." Bill was a beginner a< ranger month, with the Four Freshmen due in at Westlake. Our 17 piece Dance Band rehearses 15 hrs. per wk. September. using name band arrangements. Appr. for Vets, tool Send for Have you dug that insane interview FREE Catalog k Swing New*. with a hipster on the Henry Jacobs WESTLAKE COLLEGE OF MUSIC Folkway’s LP yet? It’s the funniest HO 1-2387 . . . Jack Sheedy’s band opened in mid­ July at the Tin Pan Alley in Redwood NAME YET» City . . . Cliff Johnson has dropped his ADDRESS STATI longtime airwave tag of “Cactus Jack” Study in Clan □ Arranging by Mail □

AuguM 10, 1955 for his KLX broadcasts . . . Vernon Brown. July 30, and Hal McIntyre, Uley made a series of radio and TV Aug 6 . . . Sounds from Walled Lake comercials with Jackie Cain and Roy Casino ballroom wid be Jimmy Palmer, Kral. July 29-30; Ralph Flanagan. Aug. 6; —ralph j. gleason Ralph Materie, Aug. 13 . . . The Melody Circus theater billboard reads Las Vegas Fintan’s Rainbow. July 26-31; Kiss Me Bill Miller, the Sahara’s show pro­ Kate, Aug. 2-7; Song of Norway, Aug. duction chief and ditto for NBC’s Va­ 9-14. riety Hour, had Sarah Vaughan on one ' —azalea thorpe of his recent vidshows, was completely gassed, and signed her on the spot for Philadelphia belter baud IssM rani cal*« «Inrr IKH2 the Sahara early spring . . Ixmiih Pri­ Stan Getz recent Pep’s attraction . . . ma and Keely Smith n >t only cliekos Atlantic City nightlife highlighted by No finer Band Instruments are on that same TV variety show, but in first appearance in five years of the Sahara's ( as bar . Benn* Goodman 5 agabonds at the 500 club . . . Joe Loco made. For design, attractive ap­ trotted around the spots in brief junket it the Ritz-Carlton and Bobby Roberts pearance, perfection of tone, tune, away from Hollywood and the shooting at the President in the shore resort . . . of his biofilm at Universal-Internatio­ Second Jersey resort area strong on and intonation, YORK has no peer. nal . . . Sammy Dasi* Jr. has another music in clubs is Wildwood, with Steve Demand the finest. Get it with Decca date after his New Frontier six- Gibson’s Red Caps at the Martinique, weeker to groove a new album, Sammy YORK Ask for YORK at your mus­ Joni James at the Bolero. Freddie Bell Da via Jr. Sings for Lover*. During last at the Riptide, and Lynn Hope at the ic dealer today, or write to: week here, Sammy sprained hi* buck, Esquire. couldn’t dance, so Sammy Sr. did most Philly singer Terry Morel signed by of the hoofing with uncle Will Mastin, Bethlehem, with first release scheduled while Jr. sang and wowed ’em with for late summer ... Al Hibbler back CARL FISCHER some exhib drumming. for a second stand at the Showboat . . . MUSICAL INSTRUMENT CO., me Vladimir Giitrrwon will maestro new Recent double attraction at Chan Par­ 105 East 16th Street, New York 3 N. Y. Stardust 18-piece house ork . . . And ker’s Monday night jazz sessions at from the Virgin Isles comes Lad Rich the Aquaclub in Bucks County was the ard*' talypao group with Bahama Ma­ Teddy Charles quartet and The Six . ma to regale elbow benders of Dunes’ Joe Williams, Basie vocalist, guested Sinbad Bar . . . Gisele MacKenaie fol­ at final session of Ellis Tollin’* Music lows Tony Martin into the Flamingo City Swing club After summer hiatus, For DRUMMERS Only for u month beginning July 28 . . . club will resume in bigger quarters . . . Drum Recordings NeUon Eddy subbed for the ailing Jane Basie band, incidentally, drew so well Froman at the Desert Inn. in their last three-day stand at Pep’s Written and Recorded by A touch of Storyville enlivens the that Bill Gerson has parted them for new Gay 90’s Room of the Silver Slip­ two-week showing starting Labor Day. per with arrival of BiU Marshall combo —harvey hasten Prominent Drummer end Teecher from Paddock club in New Orleans. on the West Coast Geri Galian*s crew* alternates in the Boston SERIES ONE intime spot for dancers only . . . Doro­ I aim- trniBtron* und the All-Stais RfCORD NUMBER 1 thy Collins makes the Thunderbird her opened the sommei concert season at MUM SOLOS songstand through July . . . Visiting plush Castle Hill in Ipswich on July 8 Record No. I consists of the following: Bobby Van Eps swings over to the and 9 to an enthusiastic audience. Ad­ Four 1: measure saloi Eight Ik measure solos Mrulin Rouge with George Redman vance sales for this phase of the series Sixteen ( moasure toloi reed man George Hili to cheer Earl —which is primarily dedicated to clas RECORD NUMBER 2 Hines 4. The Fat ha has Morris Lane, sical performances— were far heavier TWO MEASURE SOLO FILLS than expected . . . Tcreea Brewer offl Record No. 2 consist* of the fol lowing: tenor, Ed Bourne, drums, and George five 2 measure solos—medium tempos Bledsoe, bass in the lounge . . . Japan’s cially opened the summer season at the five 2 measure solos—tor faster tempos top recording oriole, Chiemi Eri. fas­ Frolics in Salisbury Beach. Kitty Kal­ SERIES TWO cinated by all the Strip’s glitter . . . len closed un equally -ucccssful week RECORD NUMBER 1 Conductor loui» Basil on annual Vegas on the same stand July 16 . . . Three LEFT HAND RHYTHMS of the major jazz clubs in the city are This ecord will enable Ihe mod« n drum->er to trek from pit of Chicago theater . . . produce definite rhythms with his left hand Benny Carter repacted at Moulin Rouge cooling it for the summer, with Ger * while the right is playing the cymbal beat until mid-August, when Lionel Hamp­ Mulligan'* Sept. 7 date at Storyville RECORD NUMBER 2 the only attraction officia’ly set to open LEFT HAND TRIPLET TECHNIQUE ton comes in with package revue. This record will enable the mudern drummer to —bill willard the fall season. play perfect quarter note, half note and eighth Herb Pomeroy hit the road with the iota triple*' with his left band while the right Serge ( haloff is playing the cymbal beat. Detroit band for a club date in Baltimore Joe Gordon is his replace Herb Ellis rejoined the Oscar Peter­ only $2.50 per record ment on trumpet at the Stables . . . Complete Music Instructions Are Given With son combo during their recent Rouge Teddy Phillips* orchestra provides the Each Record Explaining Each Example lounge engagement. The Serge Chaloff DRUM CITY sextet closed there July 24 . . . Marian music for dancing at the newly opened Mike 4124 Saata Maalca Boulavard and Jimmy McPartland hold the stand Patio of the Hotel Somerset . DiNapoli—featured pianist with Frank Hollyweed 3B. Califaraia at Baker’s Keyboard lounge until July Petty trio in Revere—also entertaining 30. followed by* Dorothy Donegan, who via WBZ-TV’s Swan Boat. opens Aug. 1 for four weeks . . . Milt —jo quin» Buckner holds forth at Crystal show bar July 23-28 and Dinah Washington Miami returns July 29-Aug. 8 . . . The spot is The recently-formed Bill Harris crew on Faye Adama at the Flame July 29- rocking along nicely at the Dream bar Aug. 11. of the Johnina hotel. Bill Useeiton’s Pee Wee Hunt in for five weeks at tenor and Sam Krupit and Jack Wyatt the Crest July 26-Aug. 28 . . . Big band on piano and bass respectively, acquit- attractions at Jefferson Beach are Les ing themselves well, and Mr. Harris

32 Down Beal blowing superbly. The spot is doing a He shares the spotlight with Alex the Down Beat as a new policy was swinging business, too, which lends en­ kallao and the Ellie Frankel trio . . . announced. A matinee show at 5:30 is couragement to local fans . . . Vaga­ The pop concert season was off with a now in effect, phu two evening shows bonds closed their local spot and will bang with a Rogers-Hammerstein night . . . Yvonne, singing pianist, at the Blue travel for the next six month* with jobs on July 6. A jazz concert., somewhat Angel along with western balladeer m Atlantic City', Chicago, Nevada, and of a departure for the Cleveland pops, Georgie Faith . . . Rusa Dufour’s quin­ San Francisco. Joe Mooney and a had the Sauter-Finegan orchestra on tet at the Chanticler at Ste. Adele couple of sidemen from their house July 21. Saturdays all summer . . . Bob Hill band here will go along to cut the —m. k. mangun playing square dance gigs at the curl­ show for the four Vags themselves. ing club Fridays. June Garrett, disc jockette at WAHR, Montreal . —henry f. whiston Jazz At It» Best on CBM Saturdays and jocks from several of the stations Toronto are organizing with a few musicians at 10:30 a.m., has inaugurated a “Cri­ and fans to form the Jazz Association tic’s Panel” of discerning listener-col­ The Kina und I with Patricia Morri­ of Miami—or JAM. She reports that lectors who select 20 records, every two son, played four weeks at the Royal interest is running high and attributes weeks, that they want to hear on the Alexandra . . . Phil MacKeller continues much of it to the success of the Bill show. The over-all results are computed to add many listeners to his jazz shows Harris group locally, and the resultant and discs included on the most lists over local CKFH . . . Bill Haley and revitalization of the jazz phalanx . . . are included . . . Loui- Armstrong’s thr Comets worked a one-niter at the Kila Fitzgerald in a surprise, and wel­ All-Stars at the Gatineau club in Hull, Palai Royale . . . Clem Hamburg con­ come booking at the Club Calvert . . . Quebec, for a week in late June . . . tinues to draw crowds to his weekend Mary Peck trio at Club Banyan near Maury Kaye’s trio at the El Morocco sessions the Sunday night group fea­ Fort Lauderdale . . . Buddy Lewis trio . . . Mel Howard, ex-Calloway pianist­ tures now Bernie Pilch and Ed Bickertt moved from Old Mexico club to the singer. was featured on a 15-minute TV . . . Ron Rully and Sol Sherman leading Rancher Lounge . . . Irv Price, well show of his own recently’ . . . Stan a band at Wasaga Beach for the sum­ known Havana music store owner, pro­ Freemun of Columbia records- starred mer. Likewise Graham Topping at Port ducer of records for Norman Granz, at the El Morocco. Carling, and Juck Zaza on the cyuga and general booster of all hip Haba­ The Chez Paree when it reopens, will lake cruise. Al) three groups feature neros, here with his family for his have double hydraulic dance floors that well-known local musicians. customary Miami Beach summer vaca­ raise and lower . . . Gloria Warner at —roger feather • tion. —boh marshall Cincinnati Lea Brown swung into Castle Farm Grotsch Spotlight for a one-niter July 9, after which the Fann closed to the public until Sept. 3 . . . Correction on last column: Mike Schiffer is leading a trio at Benny’s, "That great Gretsch sound” draws rave of not a quartet «8 reported. With other musicians sitting in, this group is the still another drum star, Chico Hamilton most exciting jazz unit in the Queen City' . . Ralph Flanagan kicked off the 83rd season of free park concerts in I Eden Park. Thirteen other concerts will be offered to the public during the summer months. Sarah Vaughan and Al Hibbler headed a rhythm and blues package at the Grey stone ballroom . . . Billy Daniels a big success at Beverly Hills . . . Betty Baldrick. vocalist with the Artones, singing up a storm at th« Spa . . . The Cotton club continues to book top jazz artists; most recent attraction was Sonny Mill . . . Stan Kenton, sounding better than ever, drew over 1 1,500 to Buckeye Lake Park, near Co­ lumbus. t —dick chaefi r Cleveland 1 Stan heiitun was mighty busy in these environs over the 4th holidays. He played Crystal Beach Park on the p 3rd and Chippewa on the 4th . Billed i as “Stan Kenton Presents,” the Don r Elliot group followed Ruddy Rich into * the Loop Lounge . . . The Hollenden’s r Vogue room has closed for the summer, but the Skyway rolls along with near I him Hamilton nnd hi» Grrterh Hroadluutar» « SRO for the recent appearance of Ted JAZZ FANS arr hearing some unusual sound* these day* from thr scintillating Lewi* ... At the Cotton club, Mat “Chico Hamilton Trio,” on Pacific Jars PJLP 17. Chico himself is a former Count Mathew* and Herbie Mann followed Basie, IJonrl Hampton man, has also appeared with Gerry Mulligan and Lena r Horne. “In small group, the spotlight’s really on yon,” says Chico, “your drums i Ruby Braff . . . The Alcazar’s Cafe In­ time has Jean Warren, with Eddie Ryan have to sound good and look good. That’s why I play Gretsch Broadkasters, greatest B drum* I ever owned.” Hear these great Gretsch drum* at your mwah dealer* Write at the piano. t for thr FREE Gretsch Drum (atiilog that shows the outfits played by top winners At the Theatrical Grill, Don Shirley in nation-wide drummer popularity poll*. Address: I nin Gretsch, Dept. DB-81055, 8 is playing to packed houses nightly. (»0 Broadway, Rrookhii 11, N. V. 33 I August Hl. I »55 Radio And Video SWtrntl lip fydt By Jack Mabley WHOEVER PUT TOGETHER the TV show, America's Greatest Bands, must have said, “Let’s just get the best By Hal Holly orchestras we can get and let them play.” Maybe it was Jackie Gleason, whose show is being replaced during the PRE-RECORDING of major musical sequences for summer by this offering. Gleason has an ear for straight, The Benny Goodman Story (for personnel of the band, see unadorned music. Down Beat, July 27) were almost completed at this typing Anyway, it turns out pretty well. If with the exception of the quartet and sextet numbers, which 1 had to choose between a show that is were awaiting the arrival of Lionel Hampton. overproduced and one underproduced, I'd We sat in on some of the sessions, a”d at one in particu­ take the underdone job every time. No­ lar, the soundtracking of Sing, Sing Sing, it wasn’t hard to body knocked himself out on America’s discern that some of those clashes of temperament that Greatest Bands. It’s a combination of marked Mr. G.’s relations with his high-powered sidemen Old American Television, vaudeville, and from time to time in the old days were very much alive a night at the Palladium. despite the passage of the years and whatever me'lowing The second show in the series displayed effect they might have had on the personalities involved. Tex Beneke, Perez Prado, Louis Arm­ THE OLD FRICTION between Benny and Gene Krupa, strong, and Phil Spitalny and his girl which culminated in their famous backstage row during a Liberaces. Somewhere there was an au­ theater engagement in Philadelphia in 1939 and was fol­ Ma Mey dience that kept bursting into applause, lowed by Gene’s abrupt departure to form his own band, but what we folks at home saw was a was very much in evidence. Adding to the tension on this revolving bandstand that displayed each band in succession. occasion was the fact that BG, ordinarily the acme of tech­ The continuity was wonderful. Beneke and his saxophones nical proficiency, was having one of his very rare “off days,” disappeared around one corner, tooting 45 degrees to the . goofing the climax of his solos not once but several times. left, then 45 degrees to the right, and rolling in around the There were no bitter words (during our presence, any­ other side came Prado and his saxophones, tooting 45 way), just hard, cold grins. It became evident that, as we degrees left, 45 right, 45 left, 45 right. Talk about show­ used to say in the old days, Gene and Harry James were manship! out to “cut Benny wide open.” But it all aded up to some PAUL WHITEMAN was master of ceremonies. His duties very exciting music. And this dissention among the bands­ consisted of trotting out from behind a curtain when a men, as with the pre-season Brooklyn Dodgers, may be a voice said, “And here he is now, the Dean of Modern very good sign. American Music, Mister Paul WHITEman!” Then the Herewith a few additional facts and developments re The Dean said thanks for the very wonderful reception and here Benny Goodman Story since our July 27 report: Ziggy El­ he is now, that old Chattanooga Choo Choo (and here he man was unavailable for the recreation ot And the Angels is now, the King of the MAMbo) (and here he is now, the Sing and Manny Klein was called in to do the trumpet solo, only, the Greatest, Louis SATchmo ARMSTRONG!!!). Who a note-for note duplication of Ziggy's, we are told. W’ith writes this stuff? that exception, no effort is being made to carbon-copy the Beneke and 15 musicians played Chattanooga Choo Choo, original ad lib solos, as in The Glenn Miller Story. Stardust, and In the Mood, three very standard old numbers For example, Stan Getz is not playing Vido Musso’s solo that used to put me up in the clouds when Beneke played on Sing, Sing, Sing; Buck Clayton is not playing Berigan’s them with Glenn Miller in the late ’30s. There were no frills on King Porter Stomp, etc. —just straight music, simple, solid camera work. No OTHER ITEMS: The Ben Pollack band, very much as it dancers, no jugglers. was in the Miller picture with Ben playing himself at the Prado opened with Cherry Pink, and then did a couple drums, will be recreated for the Venice Ballroom sequences. of things with Spanish names, and displayed one pair of Kid Ory and a group of New Orleans vets will figure in Cuban dancers which brought the realisation that the show one of the early-day Chicago lake boat sequences. At this had run nearly 25 minutes without utilizing one female. deadline, a call was out for Martha Tilton to reenact, vocal­ THERE M AS ONLY ONE commercial in the first half ly and visually, her portion of the Carnegie Hall 1938 hour. Very refreshing. After the station break they did a concert, but Martha was not yet signed. couple more and-here-he-is-now routines with Whiteman ON AND OFF THE BEAT: They’re breathing easier at and Satchmo, and then America’s Greatest Bands really Warner Brothers. Lanza reported on schedule for pre-re­ came alive. Louis had his regular combination, and CBS let cording of his Serenade songs. Is knocking them off in fine them play music. Only three numbers, but no interruptions, style—but he’ll still have to knock off some pounds before no gimmicks. He plugged and played a new recording, cameras roll . . . Opening scenes in The Eddy Duchin Story Pretty Little Missy, then did Struttin’ with Some Barbecue, (Tyrone Power, Ann Blyth, soundtracks by Carmen Cavalla­ and Back Home in Indiana. ro) are being shot in New York for authentic locale . . . The two orchestras before Louis had been working at Georgie Auld and combo headline Will Cnwan'n latest musi­ entertaining an audience. Louis was just having a good cal featurette at Universal-Internation’’!. Cast also includes time. Maybe it was the contrast to his predecessors, but Ink Spot* and Jackie Fontaine ... I rank Sinatra set for that little 15-minutr segment was one of the most pleasure- lead in 20th-Fox upcoming film version of Carousel, the able I’ve ever seen on television. It was one of the rare Rodger* Ji Hammerstein stage hit. times in which television has communicated the vitality and drive of an entertainer just as effectively as watching him in person. WELL, I’VE SEEN this fellow often enough so that I shouldn’t be going overboard at this stage of life. Maybe it Paolo Gallico, Composer, Dies was the buildup. Maybe it was surprise and appreciation New York—Paolo Gallico, the noted composer and pianist, that u very commercial television show should just turn died in New York City on July 6. Father of the noted a camera on this jazz artist and let him play. novelist, Paul Gallico, he composed a lyric opera, Harle­ And the final 15 minutes brought Phil Spitalny, but I quin, a dramatic oratorio, The Apocalypse, and many have an escape clause in my contract w'hich covers Phil chamber works, piano solos, songs, and instrumental pieces. Spitalny. If you want to know what happened the last 15 He was 87. minutes, go buy TV Guide or something.

31 Down Beat Peggy Lee Grabs Honors In 'Pete Kelly Jazz Movie

Bunker, drum« Of the Jara hand munir fan«, on I; thin sequence. Th«' story: Pete Kelly (Jack Webb), playing a battered cornet once own«»d by a fam ms oldtime jazzman and which descended to him via a cvap game, is leading his band in a Kansas City speakeasy circa 1927. When the No. 1 bootleg racketeer (Edmond O’Brien) tells Kelly and his bandsmen he is story with gobs of color, atmosphere, taking over the band booking bu-iness and tension, and has succeeded very- VETERAN iMuidleader Orrin Tucker well in capturing something of the and expects to receive 25 percent “com­ U making a romeback on the wr*t cca.t mood of the Prohibition Era—with its mission” from them, they decide to via hit new television show and upcom­ resist. superficial excitement and cynicism. ing house band spot at Hollywood Pal­ But only Joey, Pete’s drummer, THE JiZZ BAND SEQUENCES are ladium. With him here is singer Rober­ really gets tough with the mobsters. effectively presented in realistic and ta Linn, who stars on his show. Joey, full of bullets, dies on the floor logical manner and held to proper foot­ in front of the bandstand. Pete’s will age (the music is never permitted to to fight is broken, and w’ithout his sup­ steal the show from the action). Ella port, the other musicians figure they Fitzgerald appears briefly (as Maggie might as well give in. Jackson, roadhouse singer) and sings Cap’s Bittaker Brooding over it all, Pete lets himself only one song, but her name will be a become romantically mixed up with big boxoffice factor. Ivy Conrad, wealthy young thrill-seeker However, the picture’s big moments Dies In Europe and typical product of F. Scott Fitz­ are Peggy Lee’s. Her scene in the gerald’s Jazz Age. mental institution, after injuries and Hollywood—Floyd A. Bittaker, first regular employe hired by Capitol Rec­ MEANTIME, Pete has been forced by alcohol have reduced her mentality to ords and for the last several years one the mob leader to take on a girl singer, that of a 5-year-old, is a film classic of the company’s chief executives, died Rose Hopkins (Peggy Lee). Ros«* is n —Charles emge on July 2 during a visit to Europe in washed-up, hut still attractive, tippler. connection with his duties as Hollywo«>d However, on soft, slow rhythmic bal­ manager of Capitol’s international de­ ï lads, the musicians quickly discover, she partment. He was stopping in Munich has more than a spark of could-have- 9 with Capitol’s International Director been greatness. Unfortunately, she Music From Sandor A. Porges at the time of his can’t get the noisy, drunken speakeasy death, which wa- caused by a heart customers to listen. s Hollywood attack. He was 57 years old. 1 Angry when Rose breaks down in the middle of one of her songs, the mob Bittaker, who had been with a record leader helps her along the road to the distributing company here, was en­ o TV-RADIO ROUNDUP: As m old gaged personally by Capitol co-f<»under insane asylum with a vicious beating. days of radio, summer finds airlanes This is too much for Pete Kelly. The (with Johnny Mercer and the late laden with music .-hows. John Scotl Buddy DeSylva) Glenn Wallichs in f Sergeant Friday in him takes over. It Trotter & ork summer headliner re­ turns out h«> is just as handy with an 1942 to organize the firm’s distributing placing George on the Gobel show’ (Sa­ branch. He is survived by his widow automatic pistol as he is with his old turdays, NBC-TV) . . . Billy Hamilton, and two children. horn. He is so handy that when the singer and saxist (he soundtracked alto mobsters lure him to an empty dance­ solos in Franz Waxman’s Place in the n hall to rub him out, he rubs the wrong Sun score) heading his own show on way, and when the smoke clears, all his y KABC’s AM and FM outlets in new >t troubles are dead ones. stereophonic sound series (Tuesdays). Chicago Tenor AND SINCE rich little Miss Jazz Backed by three fiddles, plu> Rex Kom- Crazy is standing bravely by h*s side, ry at piano and organ . . . Also on and really isn’t such a bad sort in spite KABC now, Bobby Hammack, longtime of all hei money, there’s nothing else to Red Nichols piano and arranger, with Joins Hampton it do except set the date for the marriage. his “What Four,” on the network since id April but now released locally for first Chicago — Eddie Chamblee, tenor it For Hollywood has been time (afternoons, Monday through Fri­ saxiet who has been leading his vaguely aware that somewhere in jazz day) . . . Margaret and Barharn Whit­ own combo here, gave up the group music and the jazz musician, with all ing sister act summer replacement for to join Lionel Hampton’s band as a id the excitement, frustration, and authen­ “I Love Lucy” (CBS-TV, Mondays) . , . featured soloist this month. m tic drama that can be found in his Micki Marlo, Capitol waxsinger, signed Hampton, following ii date at th« curious occupation, there ought to be for 12 guest shots on Steve Allen’s Blue Note here which did excellently I the material for a good and significant “Tonight” (NBC, nitely) now originat­ businesswise, headed west to do some movie. With Jack Webb, an avid and ing in Hollywood . . . Paul Barbarin’s soundtracking sessions for The Benny in understanding jazz enthusiast, as its N.O. jazz vets, current at Beverly Goodman Story, and also for a date at •n star and director, there was reason to Cavern, and Ronnie Boyd’s quartet of the Moulin Rouge in Las Vegas. While hope that Pete Kelly's Blues might be modernists supplied music for a “Dixie in Hollywood, the entire Hampton ork J it. It doesn’t quite come off. Vs. Bop” panel conducted by group of will cut 12 sidet- for Clef Records, and lil Which is not to say that it will not “experts” on KCOP’s “Hometown Lionel will be part of an Art Tatum- 15 be good entertainment for a very large Scene” show. (They didn’t settle any­ Buddy Rich-Hampton trio session for audience. Webb has hopped up the so so thing.) the same label.

August 10. 1955 35 clovers (on Tour—Southwest) SAC Condon. Eddie (Condon's) NYC. ne Cordsmen, Joe Maize (Resort) Wildwood. N. J.. Out 8/1 Dante Trio (Chatterbox) Seaside Heights. N. J., m l'angatry. Stan Trio (Desert Spa) Las Vegas. Nev., h Davis. Bill (Cotton) Atlantic City. Out 9/5. m Davis, Eddie (Cotton) Cleveland, 8/15-21, nc Davis. Johnny (Officers Club) Chateau La- mothe, France, pc DeFraneo, Buddy (Jazz City) Hollywood, Out 8/11, ne Doggett. Bill (Zanzibar) Buffalo. 8/2-7, m : I EMANATION OF SYMBOLS: b ballroom; b—hotel; nc—night club; cl—cocktail lounge; r—restaurant; (Peps) Philadelphia. 8/8-13. nc t—theater; cc—country club; rh—roadhouse; pc—private club. NYC—Now York City; ABC—Associated Domino. Fats (Showboat) Philadelphia. 8/15 Booking Corp. (Joe Glaser), 745 Fifth Ave.. NYC; AF—Allsbrook-Pumphrey. Richmond Ya.; AT—Abe Tur- 20. m ; (On Tour East) 8/21-25. SAC chen, JOT W. 57th St., NYC; GAC—General Artists Corp., RKO Bldg., NYC; JKA—Jack Kurtz« Agency, 214 Five Keys (On Tour- East) SAC N. Canon Dr., Beverly Hills, Calif.; McC—McConkey Artists, 17*0 Broadway, NYC; MCA—Music Corp, of Gurdnrr, Don (Beachcomber) Seaside Heights. America 5*8 Madison Ava., NYC MG—Mo« Gal«. 48 W 48th St NYC; Ol—Orchestras Inc., c/o Bill N. J., h Black 3J2 S. Michigan Av«., Chicago 4. III.; RMA—Rag Marshall Agency. 6671 $uns«t Blvd Hol'ywood. Garner. Erroll (Blue Note) Chicago 7/27-8/7. Calif.; SAC—Shaw Artists Corp.. 565 Fifth Av«., NYC; UA—Universal Attractions, 2 Park Ava NYC nc; (Riviera) St. Louis, 8/11-13, nc WA—Willard Alexander. 30 Rcck«fall«r Plaza. NYC; WMA—Wiliam Morris Agancy, 1740 Broadway, NYC Gaylords (Waikiki Lau Yee Cha) Honolulu. Hawaii. Out 7/29, nc Sllwrt, Abbey (Berkeley Carteret) Asbury Gibbs. Terry (Showboat) Philadelphia. 8/1-6. Talk. N. J., h; (Statler) Boston. Out 11/19. 7/31. b; (Peony Park) Omaha, Neb.. 8/5-7 Martin. Freddy (Ambassador) Los Angeles, h; nc Gillespie. Dizzy (Berkshire Music Barn) Authonv. Ray (On Tour) GAC (Mitchell Corn Palace) Mitchell. S. D„ In 9/18, nc l^nox, Mass., 8/15; (Tia Juana) Baltimore. Hark. WIU (Vtah» Salt Lake City. Utah, h 8/23-28. nc Hair. Buddy (On Tour Michigan) GAC Masters. Frankie (Conrad Hilton) Chicago, h Griffin Brothers (Palms) Hallendale. Fla., Out Basic. Count (On Tour—Midwest) WA May Band, Billy; Sam Donahue. Dir. (Lake­ 7/31, nc lieneke. Tex (On Tour West Coast) 8/11- side) Denver, Out 8/4, b; (On Tour—Mid­ west I GAC Guitar Slim (On Tour—South) SAC; (Apache 9/18. MCA Inn) Dayton. O., 8/11-15, nc Borr. Mischa (Waldorf-Astoria) NYC. h Melba. Stanley (Pierre) NYC. h Hot hie, Russ (Merry Garden) Chicago, b Mooney. Art (Chicago) Chicago. 8/5-18. t; Haley. Bill A the Comets (Steel Pier) Atlantic Brandwynne. Nat (Malibu Surf) Lido Beach, (On Tour) GAC City, N. J., Out 8/6. b; (On Tour—East) 8/7-19, WA L. I., out 9/5. nc Morgan, Russ (On Tour—Calif.) GAC; (Peony- Brown, Les (Bruno's) Chicago. 8/10-14. nc Park) Omaha, Neb.. 8/12-14 Hope, Lynn (Esquire) Wildwood. N. J.. Out Carle. Frankie (Cave) Vancouver. Canada, Morrow, Buddy (Steel Pier) Atlantic City, 9/7. nc Howard Quintet. Phil (Beck’s) Hagerstown. 8/11-24. nc 7/29-8/3, b; (On Tour—East) GAC Cayler, Joy (On Tour- -Texas) GAC Mozian. Roger King (On Tour -East) GAC Md., r Los Chavales (Waldorf-Astoria) NYC. In Neighbors, Paul (Cavalier) Virginia Beach. Hunter. Ivory Joe (Paradise) Atlantic City. 7/29-8/10, nc 10/27, h Va.. 8/5-11, h Commanders (Cavalieri Virginia Beach. Va. Noble. Ray (On Tour England) MCA Jackson, Bill I moose (Weekes) Atlantic City. 7/29-8/4. h; (On Tour — Va.. Pa.. New Pastor. Tony (Coney Island Park) Cincinnati. 7/29-8/11, nc; (Peps) Philadelphia, 8/15-20. England) 8/5-14. WA 8/12-17, b nc Cross, Rob (St. Anthony» San Antonio. Tex. Ii Peeper. Leo (On Tour Midwest) GAC J li quet, Illinois (Flame) Minneapolis, 7/26- Cugat. Xavier (Waldorf-Astoria) NYC, Out Perry. Al (Moana Banyan ct. Lanai) Wakiki 8/8, nc 8/23, h Beach, h Jaguars (Circus Bar) Seaside Heights, N. J., Cummings. Andy (Green's Surf) Watklkl Phillips. Teddy (Flamingo) Las Vegas. Nev., Out 8/3, nc Beach, cl and r h Jewel, Four (Cotton Club) Cleveland, Ohio, cummins, Bernie (Suri I Virginia Beach, Va . Pritna. Louis (Sahara) Las Vegas, h Out 7/31 7/29-8/4, nc K»gon, Don (Skyline Club) Rillings. Mont, nr Johnny & Joyce (Manor House) Terre Haute. Dale- Arvon (Rendezvous room) Biltmore. Roed, Tommy (Muehleba< h) Kansas City, Mo., Ind., h Los Angeles. Calif., h h Jokers, Four (Last Frontier) Las Vegas, Nev., Dixiecats, Ken Alford (Aloha room) Wakiki. Reynolds, Tommy (Palisades Amusement nc nc Park) Palisades, New Jersey. 8/6-12 .Johnson. Buddy (Basin Street) NYC, 8/11-24, Eberle, Ray (On Tour -East) MCA Rudy. Ernie («>n Tour Midwest) GAC nc Elgart. Lee (Elitch s Gardens) Denver. Colo., Sauter, Finegan (On Tour- East) thru Aug. Iones Bros. (IMines) Las Vegas, Nev., h out 8/1; (On Tour-Chicago territory) 8/2-7. 31. WA Jordan. Louis (On Tour—Ohio) GAC MCA Spencer. Eddie (Top o' the Isle. Biltmore) Kerry Pipers (Tony Mart’s Lounge) Somers Ellington. Duke (Aquacade) L. L. N. Y.. out Waikiki Beach, h Point, N. J.. Out 9/11, cl Spitalny, Phil (Grandview Inn) Columbus, O., 8/1 lx»ve, Preston (on Tour Texas-N. M.) NOS Ferguson. Danny (Robert Driscoll) Corpus In 8/1, h Marsh, Arno (Romana Pk.) Harbor Springs. Christi. Texas, h Spivak. Charlie (On Tour i'hiut 9/11. 1) Miller. Chuck Trio (Ka Cee’s) Toledo. Ohio, r heomber> D. C», nr Kaie, Sammy i Surf i Vogima Beach. Va . Wildwood. N. J.. Out 9/5. nc Rey, Ah inn (Harrah's) Lake Tahoe. Nev., 8 12-1». ne; (Steel INer» Atlantic City, Brubeck. Dave (Dow nbeat I San Francisco. Out out 9/20. nc s 19-25. b 7/31, ne; (Lagoon) Salt Lake city. Vtah. Rico Trio. George (Muehlebach) Kansas City. Kenton. Stan (Steel Pier) Atlantic City. 8/5- S,'12-13. nc Mn.. h 11. h Bryant, Rusty (Zanzibar) Buffalo. 8/9-14. nc Roach, Max- Clifford Brown (Showboat) Phil­ King. Pee Wee (On Tom Midwest) GAC adelphia, 8/8-13, nc Klsley. Steve (Statler) Ifetroit. 9/12-11/19. h Huckner, Milt (Loop) Cleveland, 8/1-7. cl Burgess, Dick & the Thunderbirds (Basils) Roth Trio, Don (Shawnee Inn) Shawnee on ■«Une, Buddy (Cold Springs Resort) Angola. Kokomo, Ind.. 8/1, nc; (Tlpps) Lafayette, Delaware. Pa.. Out 9/11, h Ind., 7/25-8/6 Ind., 8/15, nc Salt City Five (Otto’s) Latham. N. Y., Out iJtSalle. Dick (Statler) Washington. D. C„ Byers, Verne (On Tour—Midwest» NOS 7/31 nc; (Club A-l) Ephrins. N. J.. Tn 9/27, In 9/22. h Calame. Bob (On Tour—Midwest) NOS nc Lewis Ted (Desert Inn) Las Vegas, 8/2-29. Campbell, Choker. Idlewild, Mich.. 8/5-9/5 Savage, Johnny Quartet (Sapphire room) Los nc Candido (Mac's Mambo Inn) Atlantic City. Angeles, Calif. Lombardo. Guy (Desert Inr) Las Ve-a- In N. J., Out 9/5. nr Sr haff’s Aristocrats, Murray (Bolero) Wild 9/27, nc Cavanaugh Trio. Page (On Tout West Coast» wood, N. J., nc Long. Johnnv (Surf) Virginia Bea.h, Va.. GAC Shearing. George (Embers) NY< Out 9/10. n< 8/19-24. nc Charles. Ray (On Tour—South) SA»' Shirley. Don (Colonial Tavern) Toronto. 8/13- McIntyre. Hal (Peabody) Memphis. 8/8-14. h Charley & Ray (Mandy's Grill) Buffalo. N. Y.. 27. nc McKinley. Ray (<>n Tour East) GAC 8/2-7. nc; (Copa) Pittsburgh. 8/8-14. nc Sorrell Trio. Frank (Piccadilly) NYC, h Marterte. Ralph (Palladium) Hollywood. Out Clayton, Dell (On Tour Midwest) NOS (Turn to Page 38)

Down Bral THIRTY CENTS PER WORD Feather s Nest MINIMUM TEN WORDS ------By Leonard Feather

IF, LIKE MANY Down Beat read­ ('lassi Vied ers, you are the average fan in the average American town, you have prob­ ably read statements from time to time about the international, political, and REMITTANCE MUSI ACCOMPANY COPY - social value of jazz in cementing good will, but have been too remote from the COUNT NAME ADDRESS CITY ANO STATE scene to have much more than a vague DEADLINE 5 WEEKS PRIOR TO PUBLICATION idea w hat it all means. BOX NUMBER SERVICE 50c EXTRA For this reason I think you may be interested and enlightened by an ex­ change of letters that just reached me ARRANGEMENTS through the kindness of a jazz, fan and writer named Andy Salmieri. SZECIALS any combination, specializing in units using accordion. 1 to 5 men. Arranger The first letter was addressed to 115 Brighton, Rochester, Pa. Charlie Parker, shortly before his« death, by two 18-year-old fans in Dus­ MUSIC COPYING, songs transposed, orchestra­ tion. Herbert Carpenter. 4504 S. Oakenwald seldorf, Germany. The second lette : Ave.. Chicago 15. was written to Salmieri by Mrs. Char- COMBOS!! Full sounding «rangements written lie (Chan) Parker. especially for your instrumentation of: Trum­ Here are the relevant excerpts from pet. Tenor, Alto. Rhythm, or Trumpet. Trom- l»one. Tenor. Rhythm or Trumpet. Alto. Tenor. the first document: Trombone, Rhythm. (Bary Optional). Arrang­ ing Service, 384 Monroe Ave. Rochester. N. Y. “. . . We are merchant-apprentict s and got a lot to work. Our span- time- is HELP WANTED full) filled with one of the greatest arts —the music or better called the modern PIANO MAN foi traveling mid-west orchestra. music. When in 1945 this cruel war 0. Sleeper bus. Sternly pa> and good chance Io »ave. Little John Beeeher, 1611 City Nut*l had ended and our country had been e. Bank Bldg.. Omaha, Nebr. occupied, the Americans, your people, EXPERIENCED REASONABLE-priced arranger who had brought with them besides CARE understands scoring Dick Jurgens Ensemble packets, chewing gum, und Spam, the coupled with I*s Rrown Two Beat. Verne Byers Orchestra, 1611 City National Bank jazz. For the first time we got the Building. Omaha. Nebraska. knowledge of this kind of music. There were Dixieland, swing, the progresive EARN MONEY in your spare time. Representa­ tives wanted to »ell Down Beat and other sounds by Stan Kenton, and a style magazines Box HR, 2001 Calumet Ave.. Chgo )S called be-bop. This music consists of nervous rhythm and strange abstract MISCELLANEOUS tones. We got crazy by hearing it and SWING PIANO-RY MAIL, 30 self-teaching lesson made up our minds to try tn play this $3.00; (samples) over fifty publications. PHIL notes ourselves. We worked in our BRETON PUBLICATION P O. BOX 140- , Omaha 8. Neb. . vacations for being able to buy second­ hand instruments. One got a trumpet, ORCHESTRA STATIONERT Business the other a soprano sax. We knew every Songwriter’s Review ’ often played along your records, which magazine. 1650-DB Broadway, New York 19. 25c copy: $2 year we got connected with many difficulties from friends in Sweden and Paris . . . PRINTING! REASONABLE PRICES! FREI “WE GOT MANY troubles with our ESTIMATE1 Sebastian. 10934-M Hamlin, North nd Hollywood, Calif. parents and neighbours when we played our instruments and moved our turn­ EXPERT REVISION of Song* and Poem*-, Reason­ able Fees. Reliecca Welty Dunn Arkansas tables . . . now, some y ars later, many City. Kansas. young people, and those older people which kept a young heart anti open SONGWRITERS The world1« greatest song pro­ motion agency offers its members free promo­ eyes and ears, love the music whose tion on accepted songs. Write for free brochure. M-O-S-S Inc., One East 42nd St., base were the sounds of yours and New York 17. N.Y. your friends . . .

ORCHESTRA COATS. DOUBLE BREASTED SHAWL “Guess we’re writing a lot of non­ ST.SO SINGLE BREASTED S7. TUXEDO TROU­ sense but don’t mind, please. The main SERS $4 CALE 1210 JFFFERSOM, CHICAGO. ILL. thing we would tell you is, that we love and adore you and your music 23.000 COMEDY LINES, bits, parodies, routines! Free Catalog Wilt* ROBERT ORBEN 73-11 better than it’s good for our merchant­ BELI BOULEVARD. BSYSID1 64, NEW profession. Please, don’t be angry about >ut YORK. 27 this letter, and would you tell hello to SONGWRITERSI Mucic composed, arranged, Mr. Davis and all the other musicians. iOS printed recorded. ALL WORK GUARAN- rEED. Information FREE Five Star Music Your go faraway friends, Manfred Masters, 107 Beacon Building Boston, Mass. Muller and Udo Denneborg.” ÎV And here is Mrs. Parker’s very RECORDS touching reaction: FREE CATALOG Hard-to-Get Jazz Records. J. Rose 211 East 15. NYC 3. “Dear Andy: I am enclosing a letter which I thought might make you feel

tugu-t 10. IMS.-» 37 as warm as it did ine. What pleased me OHIO BUILDING SUIT! 403 most was the part about older peo pie which kept a young heart. And I »04 S WABASH AVE.. CHICAGO 5. ILL answered Manfred and Udo that in

" SCHOOL OF PERCUSSION AND MUSIC America there were too few such peo­ The fineit pr4'n.-ana teaching staff in 'he country coupled with ever twenty years of ¡nitruction ple. Here Bird’s music is too often ridi­ using thè most modem, practice! methods assures you of the training necerery to reach your culed instead of being given the en­ goal, the Knapp School specialties in ell branchai of percussion, piano, voice, theory end all orchestral instrument! couragement that a young native art WHITE FOR INFORMATION form, just trying its wings, needs in order to survives I also believe that the world would bi' better off with more creative artists rather than good mer­ chants. “IT M AKES ME feel a lot better to know that there ai'e people all over the MVS/C P/W/T/NG world like Manfred and Udo. It makes me a little more optimistic about our Estimates for engraving son, glowing up in this sometimes un­ and printing gladly furnished • Any publisher our kind world. It isn’t all hate, is it? teference • Highest rated in the United States “Sincerely, 2111 «1ST 4HI STREET . CRICKS 32, ILLINOIS Mrs. Charlie (Chan) Parker” Next time you hear what has become the platitudinous sound of such phrases as “Jazz is an American as baseball,” or “Jazz knows no boundaries,” just keep this in mind: if Bird had been able to spend all his time around people SPECIAL OFFER as sincere as Manfred and Udo, and away from the snake pits of society that engulfed him, perhaps he would SPECIAL OFFER still he with us today. SPECIAL OFFER Band Routes (Jump«! from Page 34) The fabulout book about ¡as by the men who made it Stevens. Sammy (Cher Jay) Estes Park, Colo., Out 9/5, ne Sutton Ralph (Grand View Inn) Columbus, O.. 8/1-27, h Stitt Sonny (Stage) Chicago. Out 7/31 nc Hear Me Talkin' fo Ya dited by Nat Shapiro (of BMI) Tate, Budds (Paradise) Atlantic City, 8/1124, nc Three Jacks (Wheel Bar) Cohnar Minor, Md and Nat Hentoff (of DOWN BEAT) nc Three Suns (Hurrah’s) Lake Tahoe. Nev.. 8/5- Towles, Nut (On Tour—-N M ) NOS Treniers

□ Sand ma eue copy of Heer Ma Tallin to Ya plut the DOWN BEAT subscript! dice ted below for which I enclose $0AB Muriel In London Debut London—Muriel Smith, creator of the title role in Carmen Jones on Broad- 2001 Calaaef, Chicago IB, III. way, the applause of the critics Reata enter my DOWN BEAT subscription when she made her London debut in Wigmore hall. Miss Smith also ap- >7 □ 3 yean (52 issues) >12; [3 3 vean (71 issues) |i6 peared in London South Pacific arder osar* aad sava aera! Sauce Tartare, and The King and I □ RECORD WHIRL and is remembered for her dancing in the movie Moulin Rouge. □ DOWN BEAT pirn »abw □ RECORD WHIRL or □ JAMBOREE only (8.50 (I yw □ DOWN BEAT p/H RECORD WHIRL pl* JAMBOREE all »or oa/y $10.00 (I y»«' Jazz Photos The striking study of Charlie Parker on thi* opposite page is thr -econd in a series of outstanding examples of jazz photography, suitable for framing, that Stale will appear regularly Down Heat 11055 (Bob Parent Photo.)

Down Beul

HIS BIG NEW ROLE IS THE BIG JAZZ JACK WE as PETE KELLY an authentic Kansas City bandman of the '2Os!

t?ete kelly'S blues

written by RICHARD L. BREEN starring YOU'LL HEAR THESE NEW TUNES: “PETE KELLY'S BLUES" JANET LEIGH "HE NEEDS ME" "SING A RAINBOW" And • dozen greet loss standouts! EDMOND O'BRIEN PLAYED BY: Dick Cathcart PEGGY LEE Matty Matlock Moe' Schnakder Eddie Mlllor ANDY DEVINE • LEE MARVIN - ELLA FITZGERALD George Van Eps Nick Fatool a MARK VII LTD production directed by JACK WEBB Rsy Sherman Jud De Nsut Warner BROSf“|LiBu.c/.npC warnerColor -AND PRCBtNY IT IN S PRINT by TECHNICOLOR Joe Vonuti Harper Gott Perry Bodkin I SHOWWtS Item THIS MOUTH III WOTIOH MCTUWE THtlTHES WtlVWHHt! |