not tease us here, but gives generously of him'>Clf. Nippon , until the last thlrd, '------iJs in fact a little piano concerto, or Records aro reviewed by Don DaMicheal,Gilb ert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPortlond,Dan Morgenster, rather, a rha psody for piano and orchestra, Bill Quinn, Harvey Pekar, William Ruuo, Harvey Siders, Pote Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by the writen. with the emphasis on the former. Roting• ore, * * * * * ,.xcellent, * * * * very good, * * * good, * * fair, * poor. The theme and opening passages will L ______Whe_: __n two.....:.__:...::., catalog ___numbers ___ ore listed_;_, ____the firs t is mono,_ _;______and the second is stereo. ______theredelight is Theloniouspiano playing Monk;in the grandfurther tradi on,- t ion suc h as one rarely hears today- . . . not just the special tradition that evolved SPOTLIGHT REVIEW A few years later , the doubter was none Th is 1s not to say ~at Elli~gton jazz. but the great, expansive, full- other than John Hamm ond, who was led, not Jis~en to th~ _fascma un g ?'us ics of ~ed classical tradition that began with by the appea rance of Reminiscing in countries he v1s1ted. He did, and . izst and Chopin , ended with Horowitz, Duke Ellington------• Tempo, to declare that Ellington had be­ PAR EAST SUIT E-RCA Victor LPM/ LPS well. But he has not allowed this t lives on in Rubinstein. ~782: Tourist Polllt of ViHerbie Jones, Ca, them revcr5e accusations of living in the have Cur?ished a n~w per~~ct1ve w • o ring and sing, and Nippon is an Andusoo, Coot ie Williams, Mercer Ellington, trumpets, ftutgelh orns; Lawrtncc Brown , 0-usttr past. Wisely, Ellington ha s ignored them fragmenttng ~e unified VISIOn of a fllautstanding example of Ellington the Cooper, Chuck Connors, rromboncs; Russell Pro· aU, and made them all obsolete. sona l concepti?n· . . pa nist. cope, Johnny Hodites, Jimmy Hamilton, Paul Gonsalves, Harry Carney , reeds; John umb, As Sonny Greer points out elsewhere The sounds m wh ich thts work _abolll; There is more, too. On the infectious bus ; Rufus Jonu, drums. in this issue, Ellington has always per­ are the gorgeous sounds ?f Elhogto'l)rpk, inspired by dancers and an invita ­ Ra1ing: * * * * * fectly understood his obligation to his realiz.ed by the unique voice of the 1aionto the dance, Ellington's piano is 1f you have been saving a vintage bot tle pub lic as well as his obligation to his cheslra. There are oo other _sounds ·ued against the ensem ble in a different of Choteau Lafitt e R otsclrild or some art, and has discharged both in a supre me them, and one could easily be y, with effervescent effect. His intro­ other kind of ambrosia, the advent of manner. Still, even his staunchest ad­ ecstatic in auempl ing lo describe thccluction and theme statemen t on Harissa this new chapter in Ellingtonia provides mirers might marvel at the freshness, But their warmth , den s!ty, sen~uous:i;re rich and warm, and he also spices that specia l occasion you have been wait­ vitality and creative force of the Far East an d beauty have no eqwvalent m w t!pptr expertly. ing for. Suite. I t is an achievement which wo uld Suffice it to say that the reeds (A historic al footnote: in the ear ly There are nine parts to this new work, allow him to perform nothing but the never blended more ra ptur ously than. \lays of the band Ellington's piano often and if , as in the old days, they had been Medley of Hits for the next ten years one exam ple, behind Hodges' matc~ng less than 't he ensembles or othe r issued two by two, each would have been without legitimate objection. singing on l.ffaha11, a love ly Iheme. "to toists; today, he can outswing most hailed as a masterpiece. They can be To describe this music in detail, to these reeds, together for so long that~o players, h ornmen, and rhythm savored separately or in toto, and the subject it to analysis, is a task for which think and breathe as one , are the c ions.) music lover who acquires this record may this reviewer is not suited and towards !ng glory of thi s edition of the Hail, then, to the D uke of Ellington, who expect it to come to live with him. which he is not inclined. It speaks for instrument. Jiu added the colors and textures of the Periodically , im patient voices clamor itself, and it must be heard. The ensuing The _section's individual components brient to his briUiant palette, and has for new Ellington musi c, little knowing program notes are offered only to whet well_ displayed: Carney, the a_bsolut~ \iven us new riches on top of riches. that Ellington 's music is constantly new the appetite. undispute d master of the bari tone, ISHail, also, to Billy Strayhorn, who has and constan tly renews itself. Besides, The genesis of the Suite in the aural noble self on Agra , a sta tel y song; ~iched his legacy. I t is encouraging that through the clamor, Ellington is usually and visual impressions gathered on tours salves, whose status _as ~ne of. the tr91usic of such strength and beauty can be at work on something all new, and when an d travels is well described in Stanley great tenor saxophomsts 1s undi sputel!,:n atcd in our troublesome times· music 1 he is ready, it is performed and, if ii Dan ce's excellent notes, which include inspired on Tourist, with ~ts ar~~t fullfills the uplifting purpo rt of true meets his standards aod the moment is many direct quotes from the composer. chang es, and on Mount Han ssa, w1thirt . -Morgenstem opp0rtune, recorded. (If any critic has ea rned the righ t to gentle swing. Sometimes, the growth is organic. Por­ annotat e Ellington albums it is Dance , Hamilt on's cla rinet, with illl bcac tions of this suite have been around since who ha s never wavered, or bowed to tone and impeccable execution, is the ,~ noonball Adderley . d h · · WUY AM l TREATED SO BAD?-<:apitol 1963, others have been added in the fashion.) Of Ih e Bf ue bir , a C ~ming piece · 17: Mi,ri Ma,,,a· ,,,,, on /lfy Wa; Wb,i' (A"' intervening years , and some, at least to As is usually the case with Ellington, bears the stamp of Btlly Strayhorn; T rt•t•tf So n:;;/J: 011, fo r New£; Yvelle; Tb, clarinetist is also much in evidence 00 1111• Suk; Tb, Sr,,,~. the~e ears, are brand new. Together, they the extra-musica l theme is of secondary P«rsooaet: O,nooob:111 Adduley , alto su o- add up to the most remarkable Ellington importance. Such Swut Thundtr was grand finale of Nippon. The non ; Nar Adderley , comet; Joe Zawinol , achievement in quite some time, perh aps most certainly a Shakespearean suite, Hodg es, in a blue mood quite diff 0 , electric piano; Vic G:ukin, bau; Roy . d l l wdy, dnuns. since Such Sweet Thunder; though there nod the music was related to spec ific from Isfahan, 1s feature a so on Racfog, * * * * have been many morsels in between, this characters nod dramatic actions. Yet, one's PepP_er.And le~ us not f9rget Procqj I always enjoy hear ing the Adderley is a veritable banquet, a feast. enjoyment of the music was not at any 0 stcr lrng l~d voice. others' ban d in person: the combination At the point in a career that Ellington moment predicated on previous knowledge There IS not much featured worl spo ntaneity a nd discipline, fire and con- has reached, mo t artists are not ex­ of these details of inspiration; the music the brasses: Brown has_ th~ cone~ , humor, gusto, clan, and knowing pected to compete with their own past. always existed for its own sake, with no statement on Amad , ~hie~ !5 Arabi: ·ety of their music I find irresisll'ble. But Ellington is a specia l case, and, as hints required. ~ood; Cat Ander sons sinking pre y use their heads and aim at the gut; an artist whose life-long body of work The same holds true for this new work. 1s f~lt _on Tourist and 0 ~ Pep~e~, aod a result, their music very sensitively has achieved permanence through record­ To be sure, there is wide usage of exotic maJest1c soun d of Cootie Williams bines the visceral with the cerebral ing and whose past lives on side by side and "eastern" color s and devices, but briefly to th~ surface on Bluebird. Strong, meaty, soulful playing has alway~ with his present, he is in what to a lesser Jsfaha11is Ellington, Billy Strayhorn (an d ~um pet . section has bee':1 Slrongc~, n the grou p's forte, and there's plenty man might be an unenviable position. Johnn y Hodges) much more significantly its_ occas1ona~ unsurene:>5 is a bleIDJ5h it in this set, which preserves much Over the Jong years of continued crea­ than it is Persia, while Ad Lib is on minor t~at !' can easily be ove~l the excitemen t the band generates in tivity, there have always been critical Ellington more than on Nippon. But if (Per fect_ion 1~. n~t a necessary vutuc personal appe arances: the notes tell voices who have announced the beginning the mu sic moves you to wax romantic ~r1, while spmt 1s, and that pre~ the album was recorded "live" during of the end. The first one, as Jong ago as about the mysterious East, that 's perfectly 1s present) . . Hollywood nightclub engagemen t. 1933, was that of Briti sh cri tic, musician fine, too. The current vogue for I ndian Lamb 1s an exceptio ?al bassist: Can non plays with searing directness and Ellington admirer Spike Hughes, for music makes it quite timely. ~e ~no: s how ~? tay Ell~~t on mubSJ~~ghout the set, tur ning in particu larly whom the knell of doom was the add ition Just don't expect any tampering here 1s in _ t ~ sP?t ig t 00 rppon, u fut wor k on the first three perform- of Lawrence Brown's trombone to the with the basic Ellington idiom. There arc contnbutton 1s felt through out. Jolll' H o h a dri I H " la · . s w d·-..1 5 . w e C n ve. IS p Ylllg band. It didn't belong, he said, and would no sitars, no raga s, no signs of a Ravi not the _colo mt that ~~ 00 ,,... ks this group, and the contrast be- destroy the character of the Ellington Shankar influence . Th e language is that hut he 1s a g~ . muSictan, a nd 11 een the bliste ring frenzy of bis work ensemb le. There were a lot of appropriate of class ic jazz and Western music, glory hard and _conscie~tiously. . ~ the more thoughtful, probing comet answers to that, not least among them be, and what is Eastern is a spice, a . One maJor. so!o1s~ remams to be ying of brother Nat gives the front Slippery Hom. color, a hin t- not a graft or affectation. t1ooed: the piamst m the bao d. He an attrac tive balance. Nat's banked 28 0 DOWN BEAT • oot tease us here, but gives generously fires provide I'm on My Way--compo sed ZawinuJ, incidentally, has a pair of of himsaxophones; n- It is a matter not so much of virtuosity backing for the so loi sts on these numbers, Larry Cooper, bar icoo e sa.xopbone; Kenny Barron. piano; Carl Lynch, guitac; Editar Willis, bass; is (though Ellington has the gran d gesture) the instrum ent's lack of warmth and tonal Bruno Carr, drums; Eva Harr1s, vocal. es as of sound an d touch. He makes the variety and the dry, mechanical nature Rati ng: * * * % □ t piano ring and sing, and Nippon is an of its sound tell against i t. Hard-driving, with a front line hewn r• outstanding example of Ellington the pianist. ls There is more, too. On the infe ctious a, Depk, inspired by dancers and an invit a­ WHAT HAPPENS WHEN r- lion to the d ance, Ellington's piano is ~e pittedagajnst the ensemble in a differe nt ie key, with effervescent effect. Hi s intro­ □• duction and the me ' statement on Haris sa 15 RAIVISEV are rich and warm, and he also spices s. Ptpper expertly. re {A historical footnote: in the early days of the band, Ellington's piano often LE IS swung Jess thjUl the ensembles or other ,d soloists; today, he can outswing most GOES TO THE MOVIES? HE EATS POPCORN . :y piano players, hornmen, and rhythm WHAT HAPPENS WHEN HE LEAVES? ,. sections.) 11 Hail, then, to the Duke of Ellingto n, who HE RECORDS- bas added the colors and textures of the ·e Orient to his brilliant palette, and has given us new riches on to p of riches. Hail, also, to Billy Strayhorn, who has The lVlovie i- enrichedhis legacy. It is encourag ing tha t _J musicof such strength and beauty can be 1 created in our troublesome times; music that fullfills the uplifting purport of true Albu art. -Morgenstern

f.annonball Adderl ey WHY AM I TREATED SO BAD ?-Ca pitol 2617: Mini Mama; I 'm on .i\fy Way; Why? (A.m I Tr,111,d So Bad); One for Newk; Yvette; The • uen · ftCoioDs·,...... • · Otbtt Sltle: The Scene. AT~l:·1~~: ~fl ()~i ~ Ef.-~~~ ~--t:~t.i}'I·i~ Personnel: Cannonball Addedey, alto saxo­ # .. . .,,.... ~ phooe; Nat Adderley, cornet; Joe Zawinul , piano, electric piano; Vic Gaskin, b ass; Roy McCurdy, dtunu...... -T- -,. Jfltlllilid·•·¥Cllt:•l Rating: **** ..::.~.:-~ ..,...... ::::...... I always enjoy hearing the Adderley -~-:..':i-0:. brothers' band in person: the combinat ion -~.;,!_ of spontaneity and di sci plin e, fire a nd con­ trol, humor , gusto, ela n, and knowing variety of their music I find irresistible. They use their heads and aim at the gut; u a result, their m usic very sensitively combines the visceral with the cerebral. Strong, meaty, soulfu l playing h as always been the group 's forte, and there's plenty of it in this set, which preserves much of the excitement the band generates in its personal appearances: the notes tell LP/LPS 782 us the album was recorded "live" during A full orchestra, plus voices, makes this album the a Hollywood nigh tcl ub engagement. most lavish production to date by the brilliant pianist. Cannon plays with searing directness throughout the set, turning in particularly Selections include From Russia With Love, The Shadow forceful work on the first three perform­ Of Your Smile, The Pawnbroker, Matchmaker, Girl Talk, ances. How he can drive! Hi s playing Emily, The Gentle Rain, China Gate and more. sparks this group , and the contrast be­ tween the blistering frenzy of his work SEND FOR FREE CATALOG AVAILABLE IN MONO AND STEREO and the more thoughtful, probing cornet THERE'S A WORLD OF EXCITEMENT ON CADET playing of brother Nat gives the fr on t CHICAGO, ILL. 60616 line an attractive b alance. Nat's banked

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