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for name of Rogers dealer Nothing and free 60-page drum catalog world’s largest and most complete on drums and accessories—write Joseph Rogers ) 700 WESTON O Inc.. 744 Bolivar, Cleveland 15, Ohio. ol an official American representa the first chorus tive, albeit an electronic one, will they be satisfied with just the me ______By Charles Suber answer? How much “proletai ian hunger” is there among them lor The United Slates of America ex- citizens of America (excluding Can our music? position in Moscow features a ada, which presumably has its own 11 RAMAC needs some hints be RAMAC machine that has 4,000 Dream). fore getting answers to these ques questions—and the answers thereto- I he third question—and this is tions. let it look first to the \ >ice stored in its wizard innards. Com- the grist for our mill—is a cultural of America. Willis Conover, Ameri tade Citizens, at the rate of 950 a one: “What is the direction of ca’s jazz voice to the world, is mainlv day, step up to the board, punch a American jazz?” I am not concerned responsible lor the jazz fallout be button, and wait only seconds for the here wkh the answer (lor that, see hind the square curtain. Despite pre-recorded answer. (It is not true Russia's Question, page 11) but with some strong jamming (meaning here the Chinese exhibit operates laster the reasons behind the question . . . Russian elec tronic countermeasm es), with fortune cookies). and why it should ire so popular. Conover’s jazz programs have be Last week the first tabulation was Perhaps we can feed some additional come our most popular radio export. macle, listing the questions most questions into RAMAC. Would that Let RAMAC also look to the jazz Pri sidi asked of RAMAC. The first question the answers were so easily available. LPs that somehow find their wav in popularitv was quite naturally an Docs the question itself pre-sup across borders. Also, remember the Pl BUSI economic one: "How much do Amer pose that the Russians have enough reception given Mitchell and Ruff CH- ican cigarettes cost?" The answer to knowledge of the origins of jazz to this spring at their unrequested jazz this one makes it easier for the Rus wonder about its direction? How concerts in Moscow (Down Heal, Man ag sian to correlate his income to an have the Russians been exposed to Aug. 6). EU< everyday, pleasurable necessity . . . enough jazz, considering the strong We would be less than honest if ancl incidentally gives him a com official partv line against it? Does the we did not also mention our part Associ parison with current black market use of the adjective "American" in in all this. For it is a proud fact that Ne' quotations. the question imply that there is Down Beat now finds its way into GE' The second question is socio-poli- “Russian” jazz. Or “Eastern Euro places that would be the envy of any lot What the American pean" jazz? Or is our lilv being resistance newspaper. JOI Dream?” Being sturdily built and gilded just a bit? If we can just keep those questions High I politically reliable, RAMAC gives Now that the Russians have had coming, the answers will take care out an answer worthy of 175 million the chance to ask this first question of themselves. ■ CH CORRE! EOI IAS PHI SAI WA MO TOI STC
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hints be ese ques- he \ »ice r, Ameri- down beat is mainlv \ OL. 26 XO. 19 SEP I. 17. 1959 Hout be- Despite ning here TWENTY-FIFTH ANNIVERSARY YEAR icasiii es), have be- io export, i the jazz Pri sident heir wav I. B DIDIER Contents mbei the Pl BLISHER mil Ruff CHARLES SUBER THE NEWS esteil jazz tun Beat, Managing Editor KENIN ON LABOR LEGISLATION 9 EUGENE LEES SAN FRANCISCO CALLED ‘MUSIC CAPITAL* 10 honest if NEW SOUND SYSTEM REVEALED 11 our part Associate Editors fact that New York: RUSSIANS PROVED CURIOUS ABOUT JAZZ 11 GEORGE HOEFER way into U.S. AND BRITAIN EXCHANGE TOURS 12 ivy of any Loi Angeles: JAZZ FESTIVAL REPORTS 13 JOHN TYNAN questions take care High Fidelity Editor FEA 1 URES CHARLES GRAHAM THE HORN THAT NOBODY WANTS 15 Corri spondints BOSTON: George Forsythe. LAMBERT, HENDRICKS, & ROSS 16 LAS VEGAS: Gene Tuttle. PHILADELPHIA: David B. Bitton. CHOOSING A RECORD CHANGER 19 SAN FRANCISCO: Richard Hadlock. WASHINGTON: Tom Scanlon. STEREO SHOPPING WITH TOMMY REYNOLDS 24 MONTREAL: Henry F. Whiston. TORONTO: Roger Feather. STOCKHOLM, Olle Helander DEPAR IME Prodi c tion Manager MARVIN MAILMAN Thi Iirsi Choris IChallo SuIxt) 1 ilhtinev Jones) 35 Advertising Prodi ction ( Horiis imi Dim orbs 6 1 nr Hoi Box GLORIA BALDWIN SlRK II V \ll I lli 8 iGeoigc Hoefer) 10 ( VI i.ll 1 IX 1 HE V 1 42 Ciru lation Diri ctor Oi i oi \lv Hi mi (Georgi* ( »ater) 26 1 AKI FnE DAVID YANCEY Ri < orb Rn it ws 27 John Ivnan) 44 Executive Oi i ices: 205 West Monroe Street Chicago 6. Illinois PHOTO CREDITS: Cover photo, oil other pictures of Lembert-Hendrick s-Ross, and photo of Quincy Jones on P. 35 are by Ted Williams. Photo of Julius Watkins on Financial 6-781 I P. 15 by Robert Parent. Editorial Offices: 370 Lexington Avenue ON THE COVER New York 17, New York MUrroy Hill 6-1833 6106 Santo Monica Boulevard louiing festivals all over the countrv. thev have Mopped the show Hollywood 38, California eicrv when* thev have gone with their singing and the l)tiis thev Hollywood 3-6005 Jon Hendí ir ks tells the starts on Page 16. Advertising Oi fices: Charles Suber Subscription rates 57 a year, $12 two yecis, $16 three years in advance. Add $1 a year Richard Theriault to these prices for subscription outside the United States, its possessions, and Canada. 205 West Monroe Street Single copies—Canada, 35 cents; foreign, 50 cents. Change of address notice must reach Chicago 6, Illinois us five weeks before effective date. Send old address with your new. Duplicate copies Financial 6-7811 dence to Circulation Dept. 205 West Monroe Street, Chicago 6, Illinois. Printed in U.S.A. Entered as second-class matter Oct. 6, 1939, at the post office in Chicago, III., under the Brand and Brand oct of March 3. 1879 Re-entered as second-class matter Feb. 25, 1958. Copyright, 6314 San Vicente Boulevard 1959 by Maher Publications, a division of John Maher Printing Co., all foreign rights re- Los Angeles 48, California served. Trademark registered U. S. Patent Office. Great Britain registered trademark No. WEbster 8-3971 719,407. Published bi-weekly; on sale every other Thursday. We cannot be responsible for unsolicited manuscripts. Member, Audit Bureau of Circulations. Mel Mandel 370 Lexington Avenue MAHER PUBLICATIONS: DOWN BEAT, COUNTRY AND WESTERN JAMBOREE, New York 1 7. New York MUSIC 59 JAZZ RECORD REVIEWS, N A M.M DAILY; RADIO Y ARTICULOS Ä MUrroy Hill 6-1833 ELECTRICOS; BEBIDAS; ELABORACIONES Y ENVASES. September 17, 1959 5 and discords
Newport and French Lick Jazz festivals . . . bah! We arrived (at French Lick) to find out (The following is from carbon copy of a there was no record of the money «.tiler letter sent to the Newport County Chamber we had sent lor tickets, and ours wa> not of Commerce. It was sent to Down Beat a unk|ue experience. All kinds of people over the 'signature of the writer.) were yelling about the same thing. So I arrived for the 1959 Newport jazz we had to stand in a long line to gel other festival on the evening of July 2 full of tickets. enthusiasm and anticipation of listening to Then we waded through thousands of the greatest jazz musicians of this era, but teen-agers who were sprawled all owi the I left on the afternoon of July -I completely area ... It looked like a school picnic— smoother disappointed and very much disgusted. a reform school, that is. Most of them Was it because 1 didn't like the music or were drinking and by midday were getting the artists? No, playing nasty. I.ater they were im|x>ssible. I could hardlv hear the music over the Then we sat through a sym|x>sium under constant roar of hundreds of drunken cele- a blazing sun. l he panel was "mcxieiated" brators. Celebrators of what I don't know, bv promoter George Wein, and the whole but celebrate they did, and I talked to point was lo tell the crowd how many mans people (»olxr ones, that is) in New problems he had in staging the event He port while I was there and they all agreed sounded like a real martyr. Name perform with mv opinion. ers scheduled for the afternoon were lhe Monday following the festival I Toshiko and Horace Silver. Neither attended a Count Basic concert at the showed (just as Andie Previn and Miles Westbury Music Fair on Long Island. Davis had not on the night befoic). So What a difference! You could almost the crowd got to hear an unknown combo hear a pin drop during the pcifoi manee. anil singer from Cincinnati. For this they The people were there to hear jazz. I hey paid $2.20 a head. listened. They appreciated. Thev clapped At night, we had $1.75 scats, but we furiously . . . l he musicians placed their were so far back we couldn't see the faces Once you hearts out. Nothing like New|x»rt. At of the performers. Still, two thirds of the Ncwjxnt thev plaved localise it was a job have used mob was liehind us. It almost hixited and thev had to play. How could they Chris Connor anil Ahmad Jamal oil the the new plav well when it was obvious that all they stage, but it went wild for everything the were doing was selling lx-cr! Fender Kingston I rio did. I his is jazz? I also wish to mention that all the stores Onlv one gate was opened for the crowd. Mastersound that sold lx-er and/or licpioi were dosed We were in line 15 minutes before curtain up cailv each night Ixxausc several minors Flatwound time, but the planning was so |xx»r on the were caught drinking; several of them part of the ushers and ticket takers that Strings "stoned". This was a very noble gesture we didn’t get in until 15 minutes after no other» by the law enforcement Ixxly of Newport Stan Kenton had started. Some ticket- to do the "proper thing", but let me point holders didn't get in until 9:10. (Starting will satisfy. out that I (x-rsonally witnessed the sale of time was 8:30.) beer to inane minors. Ixivs and girls, some In one way I'm grateful for the ex- onlv 13 or 14 sears of age. at the beer pcriencc. 1 had I hough I alxmt planning concessions inside Frcclxxlv Park. Ap- mv next vacation to include a jazz festival. 2 Finishes: parenth it was all right in there! Now I'm going to plan it so as to miss Having a ball is really great. Drinking every one of them by at least 100 miles. Polished Gold beer is great too, but not when it Ixxomes Indianapolis John D. Stevens a 60 set an insult to the great jazz musicians that (Ed. note: The mish-mash at French Lick, covered in the last issue of flown Poli-hed C brome Bv the wav, did anvtxxly "notice" all the Beat, has already been subject to much *50 set broken Iwcr Imitles in the streets and side criticism from readers, as has the Newport walks, the busted automobile aerials, the festival. broken glass in the public telephone Ixxiths (Down Beat's position is that improperly and whatever other damage was done that organized festivals contain the seeds of J didn't sec? A real fine mess, wouldn’t • their own destruction, and later this season, Buy now when all the festivals have been held, we * you say? Con will present a survey of them, attempting at your It seems to me that if anylxxly in New made port really cared, they would have stopped to sort out the elements within them which Bob loadme the lx-cr selling inside Frcelxxly park. That have done good or ill for jazz. along music would lx: a terrible thing to do though, (H z urge reader Stevens not to dismiss Bob festivals out-of-hand. however. Jazz fes sitivify dealer liecausc somelxxly was really getting rich at half a buck a throw. I heard rumors tivals can he as good for jazz as. sav. the ALL C that the concessions were run for some Bayreuth festival is for the music of Unf Toms « local charitv. seems like a fine ner. Monterey has vet to come, and it is m qua drum « gesture, but doesn’t begin to justify selling showing all the signs of being artistically liecr in Frcelxxly park. the best of the summer's rash of festivals.) Look ti I'm cpiite sure that if (this) completely The Anniversary Issue • Mos callous attitude toward the musicians • Mog doesn't change, vou will find that the jazz Words fail me to express how very much festival will seek a much more deserving I enjoyed reading your Anniversary Issue. SANTV ANA, CALIF. host than Newport. Of al! issues which the Beat has pub- 1325 F Hempstead, New York Robert J. Welch (Continued on Page 36) 6 • DOWN BEAT ß&bbif MoMuA with Keely, SnutU
PRECISION BUILT lo tilla! out loney eider Slcn^tia^'DMi urs w;i- nol s oí people thing. So to get other uiusamlx of all oxci the X>1 pit Ilic— st of I hern cere getting ible. isittin under model ated" 1 the whole how many ; event. He ne pci form- noon were Neither and Miles licfoie). So itiwn tombo n this they its, but we ee the facts tirds of the lost hooted nal oil the rything the z? the ciowd. [orc tin tain >oor on the takers that note' after une ticket- D. (Starting
ot the ex it planning izz It Mixal. as to miss (Ml miles. 11. Stevens at French r uf Down t to much ic Newport
improf» rh r seeds of this season, Bobby Morris with Louis Prima and Keely Smith n held, we Consistency is a byword along with performance, taste and versatility that has alte m filing made Louis Prime and Keely Smith the hottest nitery package in the Country. them which Bobby Morris maintains a hard-driving, "swingin' " pulsation for this fine unit along with an amazing capacity of technique and showmanship. to dismiss Bob is thoroughly delighted with the generous amount of power, delicate sen Jazz fes- sitivity and crispness his SLINGERLAND DRUMS provide Note too—the new ns, say. the ALL Chrome #145 snare drums combined with the Sparkling Pink Pearl Tom ic of II ag- Toms and bass drums—an outfit designed for Bobby Morris with highest standards and it is in quality and workmanship that automatically comes with any SLINGERLAND artistie nils drum or accessory. 7 ft .h. ih.) Look to Slingerland for the most in: • Most expressive design • Dependable tonal performance NEW SLINGERLAND PUSH-BUTTON TOM TOM LEGS • Magnificent construction • Stellar beauty vers much These beautiful new legs CAN’T SLIP. Just push the button to adjust. Release the button and the legs stay at that rsars !—u<. height. The die cast housing is polished to a high lustre ' has pub- SLINGERLAND DRUM CO. and triple-chrome plated. 1325 Belden Ave. Chicago 14, III. 6) September 17, 1959 • 7 NEW YORK The Mitchell-Ruff Duo will play the program that caused a riot of joy in several Russian cities this past summer when they appear in concert at New York’s Town Hall Sept. 11. Their strategy included learning the tune Moscow Nights (top song on the Russian hit It Coi parade) as soon as they reached the Soviet Union. The Ateo producer of the Town Hall re-creation of the Moscow two lai performance is former English guitarist, Sidney Gross, can t h who now lives in New York. Willie Ruff reports that of Mus while strolling around Moscow, he decided to ask a timi al couple of Russian moppets to show The him the sights. \iti i conversing with I of the a likely pail, Willie found the tables had been turned and 11 acterist i num linn to set dl th« n Irn nd*. H the Ke lb w * • 11 noduied .is <»m neu triend I Griffin uho know- Izmi. Aimstrong and bills ar Dizzv Gillespie.” of corr Ihvatiual piodmci Stella Holl ^01 titular pl.his ■ |>ti « n( l.iHul-a I \tott Union, oiminallv titled /"■/ sorm unions, But, time in October at the Greenwich Shearing News Theater, off-Broadway. Ballad Stl 1( tio is an all-Negro mood piece written by Norton Cooper, other c it is the author’s first play. Singer Diahann Carroll, than t seen on Broadway several years ago in The House of musici; Flowers, has been reading the leading part. Faft-H Drummer Charlie Persip has joined Jerome Richard The son’s quartet at The Playhouse in place of Al Dreares Lea Ac . . . Central Plaza, after a short hiatus during the mid intent die ol summer, started Friday-Saturday night jazz practise bashes on the weekend ol the Randall’s Island Festival. ers.” I Guest artist was New Orleans-Chicago trombonist the Al George Brunis, giving the CP a __ ments strong Dixieland draw to compete on sta with the R mdall - Idand list, which of mt this \c u featured nothing but mod- K James ern music . . . the AF Bh
Down Beat September 17, 1959 Vol. 26, No. 19
festivals of Newport, French Lick oi ;ram ihat NATIONAL Toronto, the Boston event attracted this past a largely Boston-area crowd which w York’s learning wanned up only occasionally — for issian hit If Couldn't Be Worse . . . example, for Lambert-Hendricks- lion, ['he According to Herman Kenin. the Ross. (See the story of LHR on i Moscow two labor bills now before Congress Page 16.) ey Gross, cant hurt the American Federation Forsythe said that crowds were rorts that of Musicians any more than legisla fairly well behaved, though veteran to ask a tion already on (he books. ushers at Fenway Park found there The AFM president’s evaluation was “more beer-drinking than there ol the possible impact — or lack of is at the height of the baseball sea it — on musicians came in a char son.” Forsythe thought that this acteristically succinct statement on judgment might be viewed with the Kennedy bill ami the Landrum skepticism, because the ushers Griffin bill. Although both rhe rival weren't too enthusiastic about having bills are aimed at curbing the power the park “defiled” by jazz. ol corrupt union leadets and in par A full report on the Boston festi ticular James Hoffa of the Teamsters val will appear in the next issue of Union, they are applicable to all Down Beat. unions, including the AFM. But, said Kenin, "no further re Quartet for ‘Classics’ Baring strictions adopted by this oi any To most music lovers, classical i Cooper, other congress could be more severe composers are men like Beethoven, i Carroll. than those long ago imposed upon Brahms or Bach. Or possibly Ravel musicians bv the Lea Act and the House of HERMAN KENIN or Sibelius. Tait-Hartley Act.” But to young Jimmy DePreist of Richard- The comparatively little-known Philadelphia, the works of Monk, 1 Dreares I ea Act was passed in 1946, with the audited financial statements.” Rogers, Gillespie and Davis are the mid intent to “outlaw certain coercive But Kenin made it clear that “classics.” This takes on added sig ight jazz practises affecting radio broadcast though he thinks neither bill would nificance in the fact that Jimmy’s Festival, ers.” The ac t made it impossible lor affect the AFM much, that does not aunt is singer Marian Anderson. ombumsl the AFM to continue its require mean he approves of them. “It goes Since DePreist feels many out ments that radio stations maintain without saying,” he said, “that I, as a standing works are being written in on staff certain minimum numbers dedicated labor leader, deplore any the jazz idiom, he wants to form a of musicians. Tested in 1947 by punitive legislation that aims to resident jazz orchestra in Philadel James C. Petrillo, then president of punish the majority of honest trade phia to provide the necessary outlet the AFM, the ac t was upheld by the unions for the sins of a very few.” for l he writings of the contemporary coutts. Together with the Taft-Hart “non-classical” composers. ley Act, it has seriously impeded the To supporl the orchestra, he is AFM’s make-work program, accord EAST forming the non-profit Contempo ing to Kenin and other AFM officials. rary Music Guild. The Guild’s first "Because of the punitive Lea Act, Jazz in Boston venture, in July, was a free concert of which the Federation of Music In the words of one observer, it at the University of Pennsylvania ians was the direct target,” Kenin was a “moderately successful” fes (Jimmy’s alma mater) featuring the tizzy said, “we have long been crippled in tival. “classical compositions” of Theloni were wed out efforts to achieve fully the just During its three evenings, the ous Monk, Shorty Rogers, Dizzy Gil m-wigged gains to which musicians are en Sheraton Boston jazz festival at lespie and Miles Davis, played by a its on her titled.” • tracted a total of 22,000 persons — quartet. rouses an How much would the Kennedy 5,000 on the Friday night, ami 8,500 The numbers, ranging from st Eddie bill or the Landi um-Griffin bill af each on Saturday and Sunday night. Shorty’s moody Lotus Bud to Four fect the AFM through I heir pro But the enthusiasm of the crowd by Miles, featured Dick Grossman visions requiring that unions file nent will was mild. Said Down Beat’s Boston on piano, Odean Pope, tenor, Bobby with the secretary of labor reports te says — correspondent, George Forsythe: Bednar, drums, and John Trout and was on (heir assets, liabilities, disburse “Although they hail all the ingredi man, bass. e institu- ments, payments, and so forth? Not ents for good concerts, it was as if This month, Jimmy is presenting amazing in the slightest, according to Kenin. the people didn’t much care, as if another concert featuring a slightly warming Insofar as the proposed tighten they were up to their ears in festi larger group Then, in November, Bicenten- ing of fiscal reporting bv trade vals. I got the feeling that if they with the backing of the local musi aboard a unions may be concerned,” he said, hadn’t heard the music, they cian’s union, comes the big blowoff: the “Big the federation has for many years wouldn’t have much cared.” A presentation of John Lewis’ Euro e-playing been in the forefront of those which Made up mostly of perfotmers pean Windozos, performed by Phil publish complete ancl independently who had already appeared at the adelphia’s top sidemen. September 17, 1959 • 9 1918, Now, Hear This, Please false feeling of “togetherness” with competitive market in the re. id the audience. business plus more costly laboi tnd quini In Williamsburg, Va„ drummer 8. Community sings are consid materials. “Problems besetting the sei im Chick Bailey got si< k oi some of the ered sacred by the members of this record industry seemed furthei ac It requests by dancers and sundry pests, orchestra. They should be saved for centuated during the past fiscal ho we such as drunks, hecklers, and “au after 2430, insuring against pollu year,” Wallichs explained. “M ¡th child thorities," who, as he put it, ‘can tion by overzealous musicians. more companies producing more and turn a performer’s evening into a 9. lour adherence to these simple merchandise than ever before, ( ipi- That busin nightmare.” suggestions is solicited. Should you tol faced more intense competition corde So, the night before going to work deem it necessary to continually in every dimension of its activities.” at a s|x>t notorious for its incon violate these Guide Posts to a Happy Sounding an upbeat note for ( ipi- oids. albur siderate dientelle, he wrote a set Evening, you may expect to be sub tol and, by implication, the entire ricci ot rules lor customers. "Alter I had jected Co endless drum solos, 30 recording industry, \\ allichs con back finished,” Bailey said, ”1 knew that minutes of When the Saints Go cluded, “We at Capitol believe that 1 had written them as a soit of re Marching In, and extra-long inter Re the current fiscal year will be one ol other taliatory device for every tormented missions. continued progress.” 1 his soul who has ever sweated through J. K. “Mike” Maitland, the label's such an experience.” WEST cut a vice-president in charge of merchan than! Titled How to Get Along with dising and sales, commented on Wal- Your Orchestra, the rules brought City of the Blunted Needle novel lich’s notation in his letter to share laughter and approval from fellow just I Karl Jensen claims San Francisco holders, “An important milestone in musicians. The nine-point regula Lei is the musical capital of the United Capitol's history was the introduc tions, which probably should be in po States. tion . . . of stereophonic disc record known as Bailey’s Code, are as fol six y Jensen, head of the phonograph ings.” Declared Maitland, “ \fter lows: the b needle firm of the same name, found only a year in the stereo business, 1. This aggregation is composed that San Francisco uses more phono songs ot ptofession.il musicians. Although we find that two-channel product rec or i graph styli per person than any already makes up from one-quarter we welcome your requests, we do not was tl other city, and became curious. to one-third of our LP sales, with feel obliged to comply with every thoug “Checking record sales, too,” he the industry’s average running, as I single one of them. said, “we discovered that . . . per with i 2. We shall play a variety of music understand it, somewhere around 25 tunes. capita, San Francisco spends more per cent.” and avoid rock and roll, prolonged for music than any other city.” Wi jam sessions, and cool music. Al A Night in Waikiki on th though we imitate Lawrence Welk, Capitol At All-Time High lywoc George Shearing jet-planed to this should not be interpreted as an For the past five years Capitol monti endorsement of this appalling style Honolulu with his latest quintet last her Records’ gross sales have followed an month for a one nightet on \\ aikiki of music. ever-rising spiral. Each successive fis Shanl 3. Please refrain from engaging Beach The main reason for the tiip Conte cal period has outclimbed the one and the highlight of the evening; the performers in conversations previous. In his annual stockholders’ Lewis about relatives and famous musi Shearing’s appearance with the Mond report released last mid-month, Capi Honolulu Symphony Orchestra as cians vou know, and who you feel tol president Glenn E. Wallichs vocali play as well, if not better, than any the guest pianist in the performance gave out the word for 1958-59; the of Mozart’s A Major Concerto. of us. This is an odious practice company’s gross sales between June Reve. and tends lo make us feel inade It was an all-Shearing night at the 30, 1958, and the same date this year Waikiki band shell, and after the quate. had shown a 13 per cent increase, Sim 4. Sustained applause is welcomed Mozart, the pianist played solos ou becan racking up a total of $49,266,860. One Morning In May, What Is but xhouid not be overdone. Our But in its net income for this recon music is good, but not perfect, as There To Say?, and The Folks Who as no peiiod Capitol lost. Wallichs re Live On The Hill. you will hear should vou request any ported a net of $2,756,770, which lace spirituals or national anthems of The Shearing quintet, macle up of posed failed to come up to the figure of Warren Chaisson, v ibes; Dick Gar \ ictoi foreign countries. the previous year, $2,777,755. 5. Happy Birthdays are a service cia, guitar; Carl Pruitt, bass: Rov July \ccording to the report, the loss Haynes, drums; ancl leader Shearing, that we willingly perform. They was attributable to an increasingly confid should, however, be held to an ab next played a brace of tunes for the place solute minimum to assure that the outdoor throng. Included were I Thi recipient gets the full benefit of sur Could Write A Book. Lullaby of audio prise and feeling of singularity. A He Does? Birdland. Little Niles, and a long ment medley consisting of Cali Mambo. night filled with Happy Birthdays In a recent McClure Newspaper sound can be an awesome thing to behold Afro Number Four, Jumping With hopes, Syndicate column on television, Symphony Sid, I'll Remember April, 6. Drunken remarks ancl militant the following appeared: ot the demands from the audience during Roses of Picardy, and East of the a virti “Question—Would you tell me Sun. the course ol the evening should be if Joe Bushkin who recently ap record limited to those individuals who use Then Shearing flew home to pur The peared on the Chevy Show also sue his new venture with a big band. such occasions to justify their ex goes under another name?—P.I., disc n istence and draw attention to the New Britain, Conn. presici fact that they are alive. A Comeback for Toni? Corp, “Answer—Pianist Joey Bushkin Toni Harper was a star when she 7. Grandiose gestures of “buy a also records under the name ol to rele was 10. That was in 1947. and her round of drinks for the band” pre Joe ‘Fingers’ (.arr.” before hit record of Candy Store Blues suppose a financial readiness to settle The question the column didn’t could be heard on practically every up immediately with the bartender. answer was whether Lou Busch’s tamed If this is not done, the gesture is lawyers had heard about this. jukebox in the country. She even the ti empty and gives the musicians a rated a Carnegie hall appearance in 10 • DOWN BEAT ]9I8, backed by the Lester Young e re» »rd quintet, and her future in jazz abor and seemed assured. tting die Toni’s parents had other ideas, rthei ac- however. They saw to it that the ist fiscal child singer went through school I. “With and enjoyed a stable adolescence. ng more That knocked her out of the music ire, (api- business until 1955, when she re npel ilion corded one album for Verve Rec ctivii ies.” ords. Nothing happened with the for ( api- album, apparently, so Toni got mar- he entire ried and had a child. The come ichs con back didn't happen. lleve that Recently Toni Harper took an be one of other fling at a comeback in music. This time the label for which she he label's cut an album is RCA Victor, and, men han- thanks to songwriter Hal Levy, the 1 on Wal- novel twist given to the LP might to share- just launch Toni on a new career. lestone in Levy, who has conducted a course introduc- in jxipular lyric writing lor the past sc record- six years at UCLA, came up with I, “After the bright idea of selecting a dozen business, BRITISH EXPORT songs written by his students to be Trumpeter Humphrey Lyttleton will be the next British bandleader to travel the United States. In product recorded by the singer. So high exchange for the ‘Newport Jazz Festival" package, Britain is sending lyttleton and his band, le-quarter was the level of songs fina lb selected, along with a group co-led by Ronnie Ross, to America. (See page 12.) ales, with though, that Levy found himself sound reproduction. Moreover, he Nichols, will hold 10 albums to be ning, as I with no fewer than 11 indispensable iround 25 said, the cost of manufacturing the played individually as selected or tunes. device is but a fraction of the meth automatically. It will play a total of With jazz arranger Marty Paich ods now in general use. 20 hours if desired, with no stacking on the podium in Victor’s new Hol “One two-hour album, six inches or handling necessary. Nichols said lywood studios, Toni Harper last in diameter,” Nichols elaborated, changing an old album for a new laned to month had an all-star band behind uintet last “will cost approximately 20 cents one “will be amazingly simple.” her with such jazzmen as Bud to manufacture. It does not use styli One of the strongest assets of n \\ aikiki Shank, Bill Perkins, Bill Hood, n the tup nor magnetic soundheads; therefore, Nichols’ “secret weapon,” he said, Conte Candoli, Jack Sheldon, Mel the recording will not develop is the overall economy effected from evening: Lewis, Bob Enevoldsen, and Joe with the scratch, and after hundreds of plays production stages to consumer level. Mondragon helping the comely the fidelity will be the same as new.” This factor has prompted him to :hestra as vocalist on the road back to music. r forma nee Wear on the recording is practically predict that the recording industry nto. nonexistant, he said. as a whole will benefit from 200 per ght at the Reveal New Sound System The sound reproduction unit it cent increase in sales within the self, dubbed Recorda Tone by next five years. This, of course, is after the Since pre-recorded magnetic tape I solos on provided the Recorda Tone catches became available to the consumer, on. What Is Zen Again record industry leaders have seen it “If our method were in use today, rolks Il7/o as no threat to disc sales. Even in Associated Press reporters are still chuckling over an exchange the industry could attain a lace of a jjossible major threat SI,000.000,000 volume for 1959,” he lade up of that turned up on their wires re posed by the forthcoming RCA declared. Dick Gar Victor tape cartridge (Down Beat, cently. bass: Roy Al ter AP's San Francisco bureau According to Nichols, World July 23) recording execs remain Photo Sound Gorp. is a new or • Shearing, filed a story about friction be- confident that tape never will re I tween beatniks and Bay area cops, ganization primarily devoted to the les for the place the disc in public favor. in which it was mentioned that a expansion of entertainment media, d were / This month a young Califórnia beatnik hangout featured “zen such as recorded sound and motion .ullaby of audio consultant claimed develop id a long soup” at 20 cents a cup, the New picture reproduction. ment of “a fantastic new concept in York AP office sent a query over i Mambo, sound reproduction,” which, he the teletype: INTERNATIONAL bi ng With hopes, will shock the daylights out SAN FRAN PLS PUT GIST iber April, of the record industry and will begin Russia's Question tist of the OF YOUR ZEN SOUP IN a virtual revolution in the fields of STORY. SQUARES HERE From time to time, Down Beat gets recording and marketing sound. a query from a reader: how much ne to pur NEVER HEARD OF IT. The harbinger of woe to the big Replied San Francisco: interest in jazz is there in Russia? big band. disc manufacturer is Hal Nichols, ZEN SOUP NAMED TO AP The Mitchell-Ruff duo provided president of World Photo Sound PEAL TO BEATNIKS, MANY some answer recently. But the most ? Corp, of Las Vegas, Nev. He expects precise answer to date came from when she OF WHOM FAVOR ZEN to release his product to consumers BUDDHIST RELIGION. RAM \C, an I.B.M. computer set up 7, and her before the year is out. in the American exhibit at the Mos ore Blues SQUARES HERE UNKNOW Nichols’ new device, he main (don’t know) REGIPE OR cow Fair to answer Russians’ ques rally every tained, will eliminate 90 per cent of tions about life in America. Accord She even METAPHYSICS OF SOUP. the technicalities connected with ______ing to RAMAG, jazz is one of the earance in September 17, 1959 • II most fascinating facets of American most cases their first recording' in life to a Russian. the company of leading Ameri< an Of 4,000 questions the computer jazzmen. was prepared to answer, the query, Soloists in England were Ronnie "What is the direction of American Ross, baritone: Roy East, a new dis jazz?” was the third most frequently covery on alto, and trombonist asked. The only questions to top it George Chisholm. In Stockholm. \ke were: “How much do American cig Persson provided additional tn »in arettes cost? and What is the bone kicks; in Paris solos were <<>n American dream?" The fifth most tributed by Stephane Grappelly, vio frequently asked question also per lin; Martial Solal, piano; Roger tained to music: “What is American Guérin, trumpet, and a new tenor rock and roll?” star, Bob Garcia. By C To the jazz question, RAMAC The intercontinental tracks even gave the answer: “ (Jazz) becomes included choruses of fours played By country-to-country, and other tape- musically more complicated as the ¡can players increase their training, but induced miracles of collaboration be artist the tendency is always to return to tween musicians who have never met. and t the freely improvised solo.” RAMAC In addition to this session, Feather that gave this description of r&r: “It stems recorded two other albums. One was ceed from the old blues form and repre cut for the Swedish label Metro Ev sents a minor phase in the overall nome, with an all-star Swedish band elimi strain of American popular music. for which Feather, Melba Liston, nitud SWEDISH NIGHTINGALE Jimmy Jones, Mercer Ellington, Dick excel The answers for the questions on After you get your eyes sufficiently bock in music were supplied to the com Hyman and others wrote arrange mg, focus to read this, you may be interested to ments. An American release will attem puter in advance bv former Down know that her name is Monica Zetterlund, she On Beat writer Ray Ellsworth, working is 22 years old, stands 5 feet 9 inches, and probably be set through MGM’s that American musicians visiting Sweden have was t through the American Music Center Metrojazz label. In addition, a Brit been deeply impressed by her singing Monica, first-i in New York, a non-profit clearing ish date was cut with a nine-piece who is with altoist Arne Domnerus' band, sings group led by Vic Lewis (again fea not ti house for information on music and near-perfect English in a style rot unlike June turing Ross, Chisholm and Rov Nc for scores by American composers. Christy's. Recently she did her first solo LP for Swedish Columbia, with Donald Byrd and East), the U.S. issue of which is be so m Ellsworth was asked to supply 25 a big band, and has since cut a session in ing negotiated by publisher Lou poort questions and answers on jazz. Germany with Lucky Thompson on soprano Levy of Leeds Music. sisten saxophone and Oscar Pettiford on cello. She No. 10 among the questions asked tival of the machine was still another on wants to come to the U.S. to do a single and study, and may arrive here in the late fall. South African Favorites Mt music: “How old is Louis Arm Count Basie is the favorite band and s appear with his Creole Jazz Band, strong.” (The answer is 59.) of South African radio listeners. from working opposite Terry Lightfoot’s Ih Fair Trade New Orleans Jazzmen. In a poll conducted by the South African Broadcasting company, lis less, England is getting ready for still Baritonist Ross will be presented teners picked Basie, Stan Kenton and lune another tour of American jazz with his Down Beat plaque as a Duke Ellington as their favorites, howe artists. This time it’s the “Newport Critics’ Poll winner during his U.S. in that order. could Jazz Festival" tour. In exchange for tour. The British music paper grouf the American artists, England will Melody Maker, commenting on his Results of the poll indicated that South African jazz tastes are remark Dy send the U.S. the Humphrey Lyttle- win, pointed out that Ross ironically hut F ton orchestra and the Jazzmakers— ably close to American tastes—and, has never won a British poll—indi little the group co-led by baritone saxo interestingly, quite close to those of cating that England too has its hrout phonist Ronnie Ross (winner of a jazz clitics in all countlies who voted prophets-without-honor problem. he ar new star award in the recent Down recently in the Down Beat (Aug. 6) stand Beat International Jazz Critics’ Bands Across the Sea International Jazz Critics Poll. Ne Poll) and drummer Allan Ganley. First place among small groups Back in the United States after a exhik five-week European trip, Leonard went to the Modern Jazz Quartet. The U.S. group will tour in two then The other first place winners were: segment». The first of these will Feather announced the completion songs of a unique recording project that Tony Scott, clarinet; Paul Desmond, feature the Dave Brubeck quartet, ative seems likely to add a new dimension • alto; Stan Getz, tenor; Gerry Mulli the Dizzy Gillespie quintet, and the Rous« to the transatlantic-amity-through- gan, baritone; Bud Shank, Hute; Buck Clayton All Stars. Clayton’s Th Miles Davis, trumpet; J. J. Johnson, group will include Emmett Berry, jazz movement seem trombone; Andre Previn, piano; trumpet: Dickie Wells, trombone: Feather's venture, undertaken for Sal Barney Kessel, guitar; Red Mitchell, Buddy Tate, tenor: Earl Warren, Columbia Records, was the first In Featf bass; Shelly Manne, drums; Milt alto; Gene Ramey, bass: Sir Charles ternational Jain Session. Recording versil Jackson, vibes; Bob Cooper, oboe Thompson, piano; and Herbie first in New York, Feather used an Past, (in the miscellaneous instruments Lovelle, drums. Willis Conover will all-star band that included Clark sions category) : Ella Fitzgerald, female emcee the tour, which opens Sept. Terry, J. J. Johnson, Ben Webster, merg vocalist; Frank Sinatra, male vocal 19 with a Royal Festival Hall per Hank Jones, Kenny Burrell, Jo are a ist. formance. Jones and George Duvivier. Many of ja l he second segment of the tour passages were played by rhy thm Andre Previn was the favorite jazz will start Oct. 17. It will be headed section onlv. These parts were plaved musician-in-general, Lennie Tris exten bv New Orleans trombonist Edward back for jazzmen in London, Paris tano’s Requiem was the favorite rec are p (Kid) Ory, making his first trip to and Stockholm. They filled tn ord track, and Shelly Manne’s My Th England at the age of 73. He will the blanks to make what were in Fair Lady was the favorite LP. 12 • DOWN BEAT dings in kmeri< an Festival Reports
Ronnie new dis- rmbonist olm. Ake al tii>m- vere
a trio composed of Evans Bradshaw, piano; Ernie Farrow, cks even By Donald R. Stone bass, and Robert Allen, drums. This group, the only De s played By Saturday night is had become apparent that the Amer troiters on this year’s festival schedule, played well to an her tape- ican Jazz Festival (August 14-16) was both a financial and attentive audience. ation be artistic success. The large enthusiastic Friday night audience Chico Hamilton’s quintet, which follow’ed. spotlighted the ever met. and the well-attended Saturday concert proved beyond doubt that this, Detroit's first large-scale jazz festival, would ex multi-instrument prowess of reedman Eric Dolphy. The i, Feather tightly-knit Hamilton group ran the gamut from a hard One was ceed even the most optimistic predictions. boppish drive to the delicate complexity ot a fugue. Chris 1 Metro- Even producer Ed Sarkesian’s careful planning couldn’t Connor started rather shakily (perhaps due to the unfa- lish band eliminate all the problems inherent in a project of this mag miliar rhythm section) but sang with a bit more assurance i Liston, nitude. ot course, but it did result in, among other things, an toward the end ot her set. ton. Dick excellent KIA sound system, intelligent balanced program Then came Andre Previn. Accompanied by drummer arrange- ing, and controlled handling of the 30.000 persons who Frank Capp and the powerful Red Mitchell, Previn sailed ease will attended the festival. through six tunes. George Wein's Newport All-Stars (Buck MGM’s One of the most noticeable omissions in the programming Clayton, Pee Wee Russell, Dickie Wells, George Wettling, ri, a Biit- was the absence ot local talent. Detroit has produced so many Bud Freeman, and Jimmy Wood) followed with a thor iine-piece first-rate musicians that it seemed somewhat of an oversight oughly enjoyable half-hour igain lea- not to have featured mure local groups. Duke Ellington then brought out his magnificent orchestra ind Rov Not all the music was ot the highest caliber, but there was for a long, inspiring set in which he featured his two drum ich is be so much good jazz offered that it greatly overshadowed the mers. Jimmy Johnson and Sam Woodyard. Ellington brought iher Lou poorer moments. That the audience appreciated the con the concert to a close at 1 a.m. amidst a thunderous ovation sistently high level ot musicianship displayed during the fes tival was demonstrated by the uniformly warm response. and cries tor more. The final night of the festival got under way with dancers Much credit is due Leonard Feather, an efficient, tactful Al Minns and Leon James illustrating the History of the rite band and witty master of ceremonies who carefully kept the pace Jazz Dance. teners. from lagging. Jack Teagarden came on next to provide some happy the South The opening night concert began with Max Roach’s piano traditional sounds. Ahmad Jamal followed and delighted the pany, lis- less, bass-less quartet. Moving confidently through a four audience with a pleasant 25 minutes ot subdued piano. Then .•nton and tune set. Max was. as usual, in excellent form. His group the Four Freshmen sang without doing great harm to the favorites, however, seemed hampered by the lack of a bassist who could have added much drive and more direction to the festival—or enhancing it very much either. Gene Krupa was up next with his quartet. Krupa, who ated that group’s performance. continues to he a great crowd-pleaser, is now fronting a e remark- Dynamic Dakota Staton sang with enthusiasm and fire, pretty good group When Oscar Peterson, Ray Brown, and istes—and, but her affected and stylistic approach to her material left Ed Thigpen strolled onstage, the high point of the festival > those of little room for any genuine feeling Dave Brubeck then was reached. Peterson played beautifully, displaying unbe vho voted brought his quartet on for a long, well-received set in which lievable strength, technique and skill. And the much-dis (Aug. 6) he and Paul Desmond were aided considerably by the out cussed addition of drummer Thigpen has given even more Poll. standing drumming of Joe Morello Next came Maynard Ferguson’s big rocking hand for an continuity and drive to the group. Stan Kenton’s band fol 11 groups exhilarating thirty minutes. Band vocalist Anne Marie Moss lowed and generated so much excitement that when it began Quartet. then toined Ferguson’s exciting crew for three well-chosen to rain, midway through the set, not one person left At rers were: songs. The Thelonious Monk quartet played a brief, provoc 1 a.m Kenton ended his set and, w ith it, the first American Desmond, ative set which showcased the fine tenor work of Charlie Jazz Festival. rry Mulli Rouse in addition to Monk’s starkly individual piano. If nothing else, the success of the festival proved that nk, flute; Detroiters are interested in more than automobile assembly Johnson, This concert was closed by the Dukes of Dixieland, who seem determined to try to set jazz back at least 30 years. lines; but the interest in jazz is dormant and has to be i, piano; Saturday night began with a panel consisting of Leonard aroused through careful promotion and exposure. Publicity Mitchell, Feather. Andre Previn. George Wein and Wayne State Uni director Bcverlv Beltaire deserves a great deal of credit for ms; Milt the excellent way in which the festival promotion was per, oboe versity professor Di Richard A. Waterman discussing The handled Signs were plastered on buses, store windows, and istruments Past, Present, and the Future of Jazz. Some of the conclu sions reached were that (a) jazz will never completely he street lamp posts; the festival was advertised unceasingly d, female merged with classical music because the qualities of the one on all the local radio and television stations. lale vocal- are almost diametrically opposed to the other; (b) the future It proved, as did the Play hoy Festival, that jazz can be of jazz m television will not be as an attraction itself, hut merchandised like any commodity and is, if properly handled, : favorite jazz will he utilized in the background scoring to a greater an economically sound financial venture. Plans tor next lie Tris- extent, although all agreed that the detectives-and-jazz shows year’s festival are already under way, and producer Sar- vorite rec- are probably a passing fad. kesian promises that it will be even better He will have inne's My The musical portion of the Saturday program began with trouble producing another that is as good. LP. September 17, 1959 No. 2 Randall's Island By George Hoefer in Plagued by airplanes overhead, trucks going past on the originals and managed to bring the crowd to life to some nearby Triborough Bridge, and a faltering sound system on extent. opening night, the Randall’s Island Jazz Festival got through Following Richards came the hard-driving Horace Silver is । its three nights in a series of good, if not on the whole group, and a set ot Sarah Vaughan songs, both of which briliant, modern jazz performances. . came off about as expected—good, but no more. The Jimmy The festival had two chief virtues: a more or less smooth Smith trio, which arrived by hearse, as usual, refreshed the overall programming, and a well-behaved crowd. There were evening. no Dukes of Dixieland or Kingston trio type acts on the bill, Then came what was expected to be the highlight ot the and the crowd was in the main u jazz-listening audience. evening: the reunion of the Dizzy Gillespie 16-piece band, The hoydenism and vandalism of Newport and French Lick many of whose members had been on the stand previously didn’t get a repeat performance at Randall's Island with Richards. It didn’t come off as well as had been antici By J( pated. possibly because by this time the audience had been This, however, was the significant thing about this event: Like sitting for tour hours. The performance was not up to the it was the first-ever all-modern jazz festival. There were no Watkii standard the band had set a few years ago. of course, and traditional groups at all, unless you think of the Duke Elling person the audience reacted only mildly. ton orchetra as traditional. The crowd was estimated at *Tt’i The management then promised to work all night on the about 30,000—split approximately evenly, with some 10.000 Trend sound system to have it in order for the next concert. A lot per evening still hi of time had been taken up by disc jockeys introducing disc In s All the groups were standing, steady-w'orking units, ex jockeys, and the presentation of Franklin Geltman’s check cepting the all-star big band assembled by Johnny Richards involsi for $1,000 in Dizzy Gillespie’s name to City Councilman more for the festival and the 16-piece Dizzy Gillespie band, recon Earl Brown for the use ot the newly-formed Committee for stituted just for a night than the Investigation oi the Narcotics Problem in New York musici Musically, the best of the three evenings was Sunday, and City. what I the Miles Davis sextet and the Modern Jazz Quartet high Excepting John Wilson of the New York Tinies, jazz het wet lighted it. critics were conspicuous by their absence. give et Although there were disc jockeys galore on the stage, very Saturday night, expected to be the freak of the festival, ally wi little attention was given to introducing the tunes played by was on a level with the other nights, both in the size of the The the groups. crowd and the caliber of the music. Duke Ellington and the along orchestra did not come near the spirited performance they as a i As is not uncommon at outdoor jazz festivals, the sound turned in at Newport, but played a routine Ellington set that ui system presented problems on opening night (Aug. 21), outloo and the work of the Dave Brubeck quartet, featuring Paul The best performance of the evening was that ot Theloni him ii Desmond, and jazz singer Bill Henderson was completely ous Monk, both with his quintet and with the 10-piece his cai lost in distortion, in the moments when the amplification orchestra he used at Town Hall last winter. The rest of the eyes, i was good, however, it was very good, and you could hear program was good, but not stirring: songs by Dinah Wash The well at any location within the Randall's Island Stadium — ington and Chris Connor; and jserformances by the Art that th distractions of airplanes and the nearby overhead bridge Blakey quintet, the Ramsey Lewis trio, the Chico Hamilton a Frer notwithstanding quintet, and the Al Cohn-Zoot Sims quintet. who h Sunday evening, as mentioned, was the best ot the three, Whereas in previous years Dixieland groups have opened ing ho largely because of the Miles Davis and MJO performances. each evening at Randall’s Island, three comparativly be he; The behavior of Miles’ group was almost a satire on itself. unknown modern groups (chosen specially for the festival Down Miles opened with an open-horn solo and then walked off the through submitted tapes) were used to set the scene each that h stand; John Coltrane played his tenor solo and then he too evening. The management called it 'Twilight Jazz” and it playinj was used to let the crowds get settled in the seats. The Jimmy walked off; and finally, Julian Adderley played his alto solo it is o and walked off, leaving only the rhythm section (Wynton DePreist quintet of Philadelphia perfoimed Friday night; to und Kelly, piano; Paul Chambers, bass; and Jimmy Cobb, drums) the Bib Zieff Ensemble of Boston Saturday night; and pianist ‘Th onstage After a long arco bass solo by Chambers, the men John Bunch's New York group on Sunday night. The idea many one at a worked well on Saturday and Sunday nights, but on opening came back, played their numbers and. once again, who d night, the DePreist group didn't get started until 8 p.m., so time, walked off. he sai that it was, in effect, the first act of the show. Miles didn’t bother letting his audience know what he than t was playing. His most interesting work was a solo on a waltz, Hov Max Roach's quintet followed with the leader not only in which he played both muted and open horn. Watkii setting the pace, but actually leading the group musically, Jazz almost like a voice among the horns. Roach took a long, The MJQ followed And then the Ahmad Jamal trio forme« interesting and subtle drum solo, but the crowd gave only played a much better set than they did at Newport Rouse mild applause for his thoughtful workmanship Stan Kenton’s orchestra was the big band for the night did tw It made two appearances, opening the concert at 8:30 and The sound amplification dived from fair to shatteringly record returning right before intermission Singer of the evening distorted for the Brubeck and Henderson sets, then began to this, t was Dakota Staton, who seemed to receive more applause clear up after the Johnny Richards band took the stand. The year w 16-piece group was an accumulation of star soloists, in than any of the other performers. tra—a cluding such men as trombonists Jimmy Cleveland and Billy When the festival was over, producer Franklin Geltman City, . Byers; tenor saxophonist Frank Socolow, altoist Phil Woods, seemed pleased—but was noncomm it al about the financial Faci and drummer Charlie Persip. The band performed Richards success of Randall's Island. Watkii 14 • DOWN BEAT The Horn that Nobody Wants
to some ace Silver of which he Jimmy eshed the
;ht ol the ece band, ircviously ■en antict- By John S. Wilson had been Like many other musicians, Julius up to the Watkins thinks of his instrument as a ursc, and personality. “It’s temperamental,” he said ot his ht on the French horn. "After all these years, 1 ert. A lot still have trouble with it.” icing disc In some respects, however. Watkins’ n’s check involvement with his horn is deeper, mncilman more passionate, and more frustrating mittee for than usual relationship between lew York musician and horn. It has been some what like a long, turbulent love affair jazz between two persons who neither can give each other up nor get along ration ; festival, ally with each other. ize of the The French horn has lured Watkins playing his horn to himself—mulling in 1930 were interested, he recalled, in n and the along as hard and despairing a road through jazz, religious music, bits of saxophones or drums. Young Julius, ance they as a musician could travel, a process the classical repertoire—a habit he got already independent
DOWN BEAT much a new tune sounds like the last Pierce. “hit”. They often are unable to see any It was during this first date that the By Jon Hendricks future in a tune because of a single- spirtual quality that is in all jazz, and As to dates, times, names and places minded preoccupation with a past hit!) prominently so in Basie, made itself mv accuracy ain’t apt to be too out Creed Taylor, of ABC-Paramount, is manifest; that spiritual quality we—and standing. Data’s too demanding. 1 a rarity among this kind. He has his Ray Charles—got in church, and got so haven't the faintest idea on what date own taste and he uses his own mind, West Coast-cool we left in the lurch Dave Lambert’s birthday occurs, and I’m happy to state. and got back to for 30 pieces of Horace experience with women and the subject And besides, he gave Dave and me a Silver, after a long, cold search. of age gives me better sense than to ask recording date. Those singers had music and lyrics, Annie Ross hers, so, on biographical data During the time we were working on but that spiritual quality was missing I won't be too factual. However, on Sing a Song of Basie for Creed, I lived at the very first test, even though they matters of the heart and soul I hope to and wrote in Greenwich Village, which tried their best. Eddie Jones saw and be very actual, ’cause if you're gonna I had always thought of in an artistic heard and lay his fiddle gently down know how Dave Lambert, Annie Ross way, but which I found retaining only and walked amongst them and talked and I have such a collective ball while an artistic facade, masking pseudo-in to them and spread the word, and Sonny singing our individual parts, you'll have tellectual morbidness ’midst moral de Payne and Nat Pierce did too. Freddie to know that it comes from what we cay. It may be a good place to stay up sat placidly by and regarded it all with fondly recall, and what is in our hearts. late in, but its new, thrill-seeking Freud- an ever-patient eye and didn’t move to Some people say our name is a spouting population has rendered it no get his message through, just sat calm, clumsy name for a singing group to be longer a desirable place to create in. like he usually do. What Eddie Jones stuck with. They compare it with Mer (Don’t blame Down Beat, this is my told those singers about "layin’ hack, rill. Lynch, Pierce, Fenner and Smith, personal contention—just a little some but not slowin’ down" was beautifully an overstatement, by far. Actually we thing 1 thought I’d mention.) true, but when all the gentle urging was call ourselves I ambert, Hendricks & For our first date Dave contracted 12 done there was no concealing that those experienced singers he had known and well-trained singers still couldn’t sing port this Ross for no other reason than that’s used before as the Dave Lambert Sing Basie with that spiritual feeling—ex Id like to who we are! And so that your under ers, some of whom worked on such as cept one—a silent, beautiful red-haired write it?” standing of our name will gain even The Perry Como Show and Your Hit girl Dave had introduced me to several (perhaps more clearance, if you dig what I mean, our name describes the order of our Parade, and who had reputations some days before at Bob Bach's house in tic of his thing fierce. We also had the Basie Washington Mews, a name I remem 1 said. appearance on the scene. Dave Lambert, ex-everything under rhythm section, Freddie Greene, Sonny bered from then-current theatrical news . stage at the sun and musical truth-seeker, came Payne, and Eddie Jones, with Nat as starring in an imported-from-London ras think- home from high school in New England my head nd talent one day. heard a Count Basie record on an outside downtown radio-shop-loud 'nting an speaker on the way, and the amazement that there could he such a feelin’ never ■d on the left him after that. When I engaged reaching, Dave to do the vocal adaptation of । go with Jimmy Giuffre's Four Brothers arrange change a ment he Kent my ear about doing a lyricised Basie album in nothin’ flat! adline—1 While we were rehearsing Four Broth usly, and er?, or listening to what each other was strangest sayin’, Dave made sure some Basie rec Not un- ords were playin’. He’d play the old he music, things most, the “good ol’ ones” we n Ogden both grew up listening to, and again we ite reader heard the marvel of them all. In this s Joyce’s era of "conservatories” we heard the old Basie band full of natural musicians one a lot from their heart play more jazz than 3era. The Anybody we’ve ever heard, no matter id should how smart. And nary one of ’em knew what the inside of a music school remark- looked like. They just played and had a i famous ball. iences at Finally I got Dave’s subtle message -and they (as subtle as a ton of coal on the head) e, includ- and stopped listening casually and got t’ will lead writing lyrics instead. 1 soon had words » he able to Down for the Count and Blues Back- for sure stage and Dave adapted Frank Foster’s they de- arrangements for voices, then we started making choices of recording company on LHR. a&r men. (Means “artist and repertory” when he and they’re to blame if the recording timers. “I output sounds a bit gory. Their judg BACKSTAGE AT THE REGAL Dave Lambert, with pencil behind ear, and Annie Ross listen as Jon Hendricks discusses possibili ment of a "hit” often depends on how ties for a new lyric. As usual, a Basie record is on their portable phonograph. e Lees September 17, 1959 • 17 Broadway review called Cranks. But I between Dave and me and hits that last The Swingers on Dick Bock’s World remembered more; five years or so note, F above high C, as though it were Pacific, with Zoot Sims, Russ Free earlier than then—a Prestige record any note—and it might as well be! I man, and Basie’s steady three men, given me by Teacho Wiltshire, who re remember when Dave asked her if she Eddie Jones, Sonny Payne and Freddie corded Four Brothers vocally first, a could make that note and she said, “No. Greene, the finest rhythm section any record of a vocal version of Wardell never”, so Dave said he’d change it, body’s ever seen. Gray’s Twisted, excellent lyric by Annie winked at me, left it like it was, and We’ve just been honored by being Ross—better than good—boss! Annie sings it like she’s been singing asked to sign with Columbia Records, Yes, Annie Ross has that feeling, that it forever. under the aegis of Mr. Irving Townsend. feeling you can’t learn in no school, that So we did Sing a Song of Basie alone, Moanin, by the pianist with Art Blakey’s feeling that the men in the old Basie Dave, Annie, the Basie rhythm section Jazz Messengers. Bobby Timmons, and band had from birth and got together in with Nat Pierce, and me, and the rest Cloudbust, a Sam-the-Man Taylor saxo night clubs and tent shows. And don’t is known. When people would congratu phone solo, are about ready for single get the idea schools, to them, are un late us on our artistic success it got to release, and there's an album of Elling known, ’cause those men started a few be an un-funny joke, cause Dave and I ton ia in the works, so who knows w here schools of their own! Pick a tenor stayed broke. Annie was straight. She it will cease? player at random and, no matter what was singing on the Patrice Munsel My brother, Jim Hendricks, manages a < he says, chances are, at one time or an Show, which is like a permanent record to manage us—an unmanageable task, other he studied under Pres. And make date. Then, one day at Dave's house, I and as for how we feel about what’s no bones about it—Jo Jones invented saw the strangest sight I’ve ever seen: happened to us—need you ask? How far of the sock cymbal, and don’t ever doubt Sing a Song of Basie showed up in Lambert, Hendricks & Ross will go is it. Down Beat as Number Thirteen! So something 1 don’t pretend to know, but, Philly Joe know. Dave and I decided to see if we could since 1 write a lot of the words we ric And every trumpet player ever plays get some gigs—just local. We envisioned sing, I can tell you what message I’ll through a “bucket” mute oughta’ know nothing on a grand scale for an act so bring: that opera houses dedicated to that Buck Clayton’s real nickname ain’t unusually vocal. Annie Ross was in European musical culture are not the Buck—it’s “Bucket!” (Ain’t that cute). Europe then, sendin’ messages that American norm. Jazz is America’s cul a At any rate, the first Sing a Song of everything was dandy, so ’till Annie got tural art form. To say that our opera Basie was scrapped and. thanks to Creed back we worked with Flo Handy, wife houses are the Chicago, the San Fran Taylor, we got another chance—but of George Handy and singer of great cisco and the Metropolitan just doesn’t be what to do? Dave Lambert knew. Dave skill, and the Great South Bay Jazz follow. America’s real opera houses— has a talent for putting very large pos Festival put us on last year’s bill. as one day, pray, the American people sibilities into a very few words. “Annie Later the MJQ's manager, Monte may realize—are the Howard theater in feels it”, he said. “Let’s you, me ’n Annie Kay, set us up an audition with Willard Washington. D. C., the Regal theater in do it.” Coming from anyone else I'd Alexander one day. Willard got so ex Chicago, and Harlem’s Apollo. And our y< have thought such an idea was for the cited he made us wonder what it was divas are not singers of the kind of birds, because of the hard work entailed, we had! We weren’t at all sure it was music Europe has. but Billie, and Ella, but I soon saw the beauty of Dave’s good, but when you knock somebody and Sarah, and they sing jazz! suggestion, especially if we all three out like Willard Alexander, you know it We are honored anew every time a really wailed. ain’t all bad. Annie came back from jazz musician compliments us, because From the time we started out Annie Europe and joined Dave and me and we know they know what it’s all about, knew what she was about. She did Willard signed us immediately. but to have three great jazz musicians everything with an ease and a natural As to how Basie feels about us, that’ll accompany us is something about which ness found only in great artists, 1 guess. be easy to understand, ’cause he invited to shout. We have the Ike Isaacs trio; By C Annie Ross is more than just a singer, us to do an album with his band, yet! Gildo Mahones, piano, Kahlil Madi, to say the least. She is an artiste. Every (Sing Along with Basie, on Roulette.) drums, and Ike on bass, and we hope to She night, on A venue C, she stands up there Our current album, to be specific, is (Continued on Page 39) transc veniei better table sterec mach balan Th questi but v needs Phi thing: disc, ens a First, arour 33’/3 hold (neec that t recor accor The
18 • DOWN BEAT k’s World Luss Free- iree men, id Freddie How to Go About ction any-
by being i Records, Townsend, rt Blakey’s Choosing Your Chunger mons, and iylor saxo- for single of Elling- ows u here a crucial part », manages ¡able task, Jut what’s ;? How far of your hi-fi will go is know, but, words we rig demands essage I’ll dicated to e not the irica’s cul- a choice our opera San Fran isi doesn’t based on houses— :an people theater in theater in your needs >. And our ; kind of One of the most important recent developments is the new line of tape players by Bell Sound. and Ella. The mechanism shown at left in Ihe console above handles the RCA slow-speed (3% inches a second) four-track magazine tape recording. Bell is supplying the mechanism six different ways, ry time a from the mechanical unit, for playing through any stereo high fidelity preamplifier-amplifier, to s, because complete systems, including amplifiers and speakers. The cost of the players is about $100 more all about, than that of associated parts. RCA also is finally delivering its tape players. The quality is sur prisingly good. The phonograph record changer in console above is Garrard RC 88. musicians out which saacs trio; By Charles Graham Record changers and automatic day changers are fine for playing stereo ilil Madi, players (nonchangers) have the tone records. There are a number of ma arm built in as part of the machine. chines now available that are semi ve hope to Should I use a record changer or a Most transcription turntables have a automatic manual players, as well as 19) transcription turntable? Is the con separate tone arm. The best heavy some that are one-piece or all-in-one venience of a phonograph changer turntables do only the job of revolv transcription players. better for me than a high-quality turn ing the disc, while a changer must do Though they are not actual changers table with a separate tone arm? Do a number of additional related and they are on a base with a built-in tone stereo disc records require a highly complex operations. arm and in many cases are so designed machined turntable and a long delicately Today’s record changers are wired that the disc stops turning when the balanced arm? for stereo but also will play monaural arm reaches the end of the record. The answers to these and similar records. Sometimes it is only for the These machines are sometimes simply questions are not in black and white future that the stereo-playing facilities slimmed-down changers or the turntable but vary according to one’s particular are required. and arm of a changer with the actual needs. If a record changer is purchased with changing mechanism left off. Phonograph equipment has to do two a stereo pickup it still may be used for Since long-playing records cannot be things to get an electrical signal off the mono records until a stereo amplifier played on both sides by any changers disc, which the amplifier then strength and/or speakers are obtained. It also currently available, the need for a ens and uses to drive the loudspeaker. may be used to play stereo recordings changing mechanism is much less today First, it must cause the record to turn although they will sound exactly like than it was in the 78-rpm days when around at a constant speed, usually monaural discs, until dual amplifiers musical selections often lasted through 3314 times a minute. Second, it must and separate speakers are installed. several discs. hold a pickup cartridge and stylus Generally speaking, transcription Record changers cost from $35 to (needle) over the disc in such a way turntables are made of heavier parts, about $65, not counting the required that the stylus tracks the grooves in the are more precisely machined, and pickup cartridge and a wood base or record, being vibrated back and forth represent much simpler devices than mounting board. Wood bases are sup according to the wiggles in the groove. record changers. They are also con plied by the makers of all record Ihe tone arm performs this function. siderably more expensive. Most present changers for between $5 and $20 de- September 17, 1959 • 19 pending on how well built and finely though there are almost no record at have The finished they are. all at the fourth speed, 16 rpm. sometl A base is required if the changer is The best changers often hav,. a 78). < not to be installed in a cabinet If it’s fine-tuning adjustment for speed, so the other DUAL-1006 going into a cabinet, a simpler mounting pitch of a musical number may be still ar board or a plain piece of three-quarter- adjusted exactly to that of a piano or These inch plywood, cut out to fit the changer, other instrument. This feature is in- able as satisfies can be supplied for between $3 and $7 Rec< Transcription turntables are priced the las every need from about $40 to $100, exclusive of corpor tone arm and base or mounting board. players Most tone arms cost from around $20 to turers. .as both aprofessional $40. Mounting boards and bases tor records single play turntable turntables cost about the same or a require little more than they do for changers. C placed and superior The best high fidelity stereo systems change have better bass response than simpler Webco This is typical high-quality transcription «urn- 45 acci record changer ones. lable. with platter removed ta show belt drive The very slight mechanical noise and idlers. Note stroboscope dots on rim of Thei Tracks—and operates automatically present in every mechanical device is table at right. They are visible in mirror via be phi] neon lamp in operation to show exact speed to allo« —with stylus pressure as low as B4 more likely to be amplified by a top setting. Thorens TD124, four-speed adjustable itself o grams! Minimizes all wear. grade system than by a less-expensive table costs $99.75 Other similar models range down to a kit al $47.50. One of made b dispensable to many musicians and St., Ph DUAL-1006 should be carefully considered if you Built-in direct reading stylus pres may use add-a-part records such as the sure gauge. Easy to use, w’eight ad Music-Minus-One series, in which the justment conveniently located. listener fills in on the omitted instru ment himself. Many transcription turntables also DIAL-1006 have this feature. Naturally, the ability Big, heavy 10^«" turntable is lami to varj the speed of the turntable gradually is less important to a musi- nated and concentrically girded A four-speed changer is shown hern with manual-play spindle in place of record-chang cian or student who plays a readily Can’t warp or become eccentric. ing center spindle (shown at front left of tuneable instrument, but even here it changer). It is the Dual 1006 turntable-changer, is often useful. Fig. 5. < changers costing $70 An optional model with heavier One famous hornman when he was DUAL-1006 turntable. Model 1006X, is $74 50 and othe young used to use a record of one of ing most Rumble-free motor is so powerful one (with its lesser bass response). his idol's solos, playing it gradually to stereo turntable reaches full RPM from Therefore, the best systems use good faster and faster, running it through driver. dead start in less than turn! transcription turntables, having simpler every key as he carried it from half devices mechanisms and better-machined parts which , instead ot changers. turning DUAL-1006 The best changers do not produce Pilot All drive gears disengage automati audible rumble in top-grade systems, also inc cally—no “neutral” position to re but some changers do gradually create changer member, no flat spot thump. small amounts ot flutter (minute varia so the s tions in the speed ot turning) when The i they are used for months or years. and tur DUAL-1006 Sometimes their changing mechanisms has me get out of adjustment and work less Obsolescence-proof intermix for all $67.50 efficiently. They are too complicated built-in present or future record sizes. Stack tor the home hobbyist to readjust or second in any sequence. repair. These problems are less likely speeds, to appear with good transcription turn- - favor v Weathers KL-1 kit turntable is shown with all tables; and the best record changers cause DUAL-1006 parts spread out It can be put togethei with work well for several years without screwdriver in about halt an hour and costs trouble Elevator Action changer-spindle maintenance. $34.50 without base An electronic unit is avail A sk pre vents damage to record grooves Many changers today have a mauual- able at $74 50 to make this one speed unit run matic ti and center holes. Truly gentle! play position, and in addition are sup at any speed This is plied with a short center spindle, which speed up to full speed. (Doubling ot the facilities is used in place of the longer auto speed raises the pitch one octave.) adjustm DUAL-1006 matic center spindle. This makes it The adjustable-speed feature on most machine For the full story, write... convenient to play records the way we machines allows a variation of two or in press used to—picking the stylus up and three revolutions a minute around the A she setting it down just where desired and regular 3316 rpm speed (or 45 or 78). operatic replaying parts of a record on occasion. This is plenty of variation for tuning ticularly united ©Ijidio Of course, transcription turntables arc up a horn or piano with any record, but ment ft ideal for this sort of playing. it won’t allow continuous increase or and Re All record changers now have provi decrease of speed. cartridg sion for playing four speeds, even of a loc 202-4 East 19th Si., N.Y 3, N. Y There are only three machines that ecord' at have totally continuous speed (from something under 33 !A rpm to well over 78). One of these is the Bogen, an ed, so the other is the Rek-O-Kut CUS-12, and may be still another is offered by H. H. Scott. piano or These last two are not so readily avail able as the Bogen models. Record changers usually turn off after the last record. This feature is also in corporated in certain semi-automatic players made by the changer manufac turers. Most changers will intermix records of different sizes, though some require that the smaller-size discs be placed atop Ihe larger ones. Two changers, the Glaser-Steers and certain Webcor units change speed from 33 to iption turn- 45 according to the size of the records. v bell drive on rim of There are small units today that can be plugged into a high fidelity system exact peed to allow any record changer that turns 1 adjustable itself off lo turn off the whole system. odeK range One of these units is the Music-Minder, made by CBS Electronics, 2601 Howard :ians and St., Philadelphia, Pa., costs $7.95. Such ed if you uch as the which the ed instru- ibles also the ability turntable o a musi- a readily •n here it Fig. 5. Garrard cable kit to convert Garrard changers from mono to stereo costs $5. Pickering :n he was ond others make similar cable kits for convert of one ot ing most standard record changers from mono gradually fo stereo without any tools except a screw it through driver. from half devices have a two-position switch, which prevents the changer from not turning off the system. Pilot Radio has a couple of amplifiers also incorporating this automatic record changer cutoff. It also includes a switch so the system will stay on when desired The most extensive line of changers and turntables is made by Garrard It has models ranging from $42.50 to you never $67.50 and manual turntables with built-in arms at $32.50 and $59.50. This heard it so good second model, the 4-HF, has variable speeds. Garrards always have been in The microphone can make or break it... favor with high fidelity installers he- own with all and it takes a GOOD microphone to pick up usually surprisingly pgether with cause they are every nuance, every shading—without ir and costs trouble free. hiss, hum or howl. Wny risk your reputation on unit is avail- A sleeper in the changer semiauto unfamiliar or faulty P A. mixes when you can eed unit run matic turntable class is the Dual 1006 take an incomparable Shure Unidyne This high-quality changer with on dates. Everything you put into it comes across—naturally. ling of the facilities for manual playing. Pressure tave.) adjustment is easier than on any other •e on most machine, and there’s a convenient built- of two or in pressure gauge. round the A short spindle is supplied foi manual UNIDYNE 45 or 78). operation, and the Dual has a par for tuning ticularly well-designed on-off arrange the world’s most famous and •ecord, but ment for manual playing. Start. Stop, most requested microphone ticrease or and Repeat buttons are supplied, and cartridge changing is easy with the turn SHURE BROTHERS, TNG 222 HARTREY AVENUE, EVANSTON, ILL. ihines that of a locking key. ■ DEPT. 31-1 NEWS
Glaser-! usual * MH- < speed, i with tw It costs
Pickering Stereotable t00 is a single speed (33 rpm) unit, whose main bearing is a magnetic repulsion de vice that supports the turntable on a cushion of air. It costs $59.85. lets wood base. Garrard 301 transcription turntable, three speeds with knob for adjusting speed It has taps for operation on Thorens pulley is easily installed It 200 to 250 volts 50-cyde fled be costs $89, less mounting base table, sect «on
Connoisseur Type E variable, three-speed turn table. Massively built with synchronous motor adjustable bearings, and other machined refine ments for long life. It costs $120 unmounted.
Gray single-speed turntable kit uses belt drive from a synchronous motor Goes together in half an hour. Bogen B 60 series phonograph mechanism includes tone Price is $49 50, less base. arm and aluminum plug in heads for swapping pickups. Collare Speed is continuously adjustable from 29 to 86 rpm w.lh stops at the three standard speeds. B 60, less base costs $50. B-61 with heavier turntable, costs $55. 22 • DOWN BEAT
Stereo Shopping with Tommy Reynolds
Tommy Reynolds, supervisor of tele Like most practicing musicians, Rey vision operations at WOR in New York nolds said he feels that anything that City and ■ former clarinet-playing band lends to bring reproduced music closer leader, used to listen to records on a to live music is worth knowing about, small one-speed Symphonic portable and stereophonic recording and repro- record player with a four-inch speaker. duction does bring the playback nearer This was standard equipment tor travel to the original ing bandsmen back around 1939-40. He listened to various stereo ampli- when he fronted a big band in New fiers, cartridges, and loudspeaker - in England. New York, and on the north the homes of his friends and in several east college prom circuit. audio showrooms in the city. He finally The setup served Reynolds when he decided, since he felt he could not hear had his orchestra on location at Rye great differences among the various (N.Y.) casino competing with Glenn amplifiers, that he would stay with Miller at the Glen Island casino and Scott, the manufacturer of his mono (Ed. still later while playing at New York amplifier. cut ten City’s Paramount theater. the New He, therefore, selected the Scott 299. Ihe stt Yorker hotel, and during two long a dual preamp amplifier, all-in-one yon w cross-country tours to the west coast chassis, which is equipped with a rum cale yi area. ble filter switch, separate tone controls Down “We didn't know a thing about high for each channel, a control for balanc ( hica^ REYNOLDS where fidelity in those days (1946),” he re ing the two stereo channels, and a called, “and the records sounded fine The unit also had a control to ad switch for reversing the channels (to on that tiny little machine.” just the amount of treble coming from make the sound originally recorded on Allied Today, however. Reynolds has had the tweeter. This gave him more bass the right come out from cither speaker). Hon a long career in sound reproduction and highs for an investment of about This unit also has a tapehead input, Appai and has heard a great deal of music $45, but he still was bothered by the which means the output of any tape lion played back over control room monitor comparison with the professional setup playback mechanism without a preamp ing equipment at WOR where he has at the station. lifier or tubes of its own can be plugged Bogen served as staff conductor, music di He began talking to other musicians, right into the stereo amplifier. delh rector. and producer of the popular who had better setups, as w'ell as again Reynolds then learned that Garrard, stert Bandstand U.S.A. program to the engineers, and came to the con the maker of his monophonic record Elei tn Soon after joining WOR he bought clusion that it would be best to go high changer, had put together a conversion Hon a V-M record changer with a sapphire fidelity all the way. His shopping in kit for changing his changer from mono cent jewel needle and plugged it into the back cluded the comparison of both sound to stereo. The kit. consisting of a cou youi of a DuMont television receiver. This and prices, and he came up with the ple of wires and terminals and an in Elec sounded a lot better than the portable following units: struction pamphlet, cost him only $4.95. player because the TV set had a larger E-V: I Amplifier—Scott 99. i 20-watt, all The GE cartridge was replaced with loudspeaker in a much larger box. Sten in-one unit. a Shure M7-D stereo cartudge. He This was his phonograph system for Hon Record player—Garrard RC-88. tour wired this into the extra pickup shell, about two years, but he soon started GE: / speeds with separate pickup shells. which Garrard supplies with its chang to get more and more dissatisfied with Rasi Cartridge—GE variable reluctance ers, and plugged it into the changer the way it sounded. pagi with a diamond LP stylus and a sap arm. He would arrange and conduct live term phire for playing 78-rpm discs. During this period of selecting com music at the station each day and hear Heath Loudspeaker—Stephens 80 FR in a ponents, Reynolds decided to build him it played back over high-quality broad pagi Stephens cabinet self a cabinet for his gear He wanted cast monitoring equipment. Then at tune This hi-fi system served well for it to hold everything except the stereo night he would go home to relax and several years, and he added a Scott 310 speakers, which he placed at one end Jensen catch up on the latest record releases FM tuner to pick up the fine music pro of his living room near corners that ers, (he has reviewed discs for several pub grams coming from the FM stations in are 14 feet apart. Lalaye lications during the years as a sideline) the New York area He was happy. But He built the compartments a little page and would be unhappier each day with along came stereo. oversize and made the top instrument com his rig. By the time stereo had arrived. Rey panel removable, so that he can put Pilot: So he asked questions of the engi nolds had become director of television different equipment tn the enclosures nent neers at the studio and found out that operations at WOR and felt the need some day if he so desires. Scott, he could improve the sound of his for keeping abreast of the latest in The Federal Communications Com Corn phonograph-TV set layout by putting a electronic developments. mission has not yet decided on what Shure: better loudspeaker into it When various radio and TV stations system of multiplexing will be used for cove He removed the speaker that Du started to broadcast in stereo, he stereo broadcasting in the future. There phoi Mont had supplied originally and re wanted to be set up to hear them prop are several stations in Reynolds’ radio litigi placed it with a University 6201 coax erly, particularly since his successful area that broadcast stereo music at vari ial speaker. This unit had a 12-inch weekly Bandstand U.S.A, is a live pro Sonotc ous times every week. Most of these cone woofer with a small treble horn gram. He wanted to be up on the most fied. are sent out with one channel on the mounted in its middle to handle the advanced techniques for broadcasting highs. this program (Continued on Page 50) play DOWN BEAT ians, Rey- thing that isic closer ng about, nd repro- ick nearer eo ampli- eakers in in several He finally 1 not hear e various stay with his mono (Ed. Note: Following is a list of current manufacturer literature in Scott 299, the stereo and high fidelity field. If you wish to receive any of it, indi all-in-one th a rum- cate your choices and mail to Stereo, Down Beat, 205 IF. Monroe St., e controls or balanc- Chicago 6, ///. Enclose remittance Is. and a where a price is designated.) Nothing is allowed to rush the slow process that gives presto discs their perfect mnels (to recording surface. Like fine wines, these discs are "aged” until they fully mature ;orded on Allied Radio: 400-page catalog —for the clearest engraving of the sound-impulses you will record on them. Any speaker), Home—22 jiages ...... thing that deserves to be heard deserves a hearing on a presto disc. Ask for tad input, Apparatus Dev. Corp.; FM sta any tape tion list and FM antenna presto next time you record! a preamp- catalog ...... bogen-presto co., Paramus, New Jersey. A Division of The Siegier Corporation. *e plugged Bogen: Understanding High Fi Since 1934 the world’s most carefully made recording discs and equipment. delity—a 48 page book on : Garrard, stereo components ...... 25c tic record Electronic organs: Build it at save on :onversion Home—how to save 50 per rom mono cent of the cost of assembling of a cou- your own organ. Booklet, EXCLUSIVES! nd an in- Electronic Organ Arts..... Free i. CHARLIE PARKER hi-fi nly $4.95. E-V: How to Choose and Place Historical Recordings Vol. 1 accd with list $4.98 SALE PRICE $2.99 Stereo Equipment in the (never before released) send for Hie I960 ridge. He Home—22 pp...... Free • • • • e kup shell, GE: 15 Minutes to Stereo—A 2. imported from France ALLIED MILES DAVIS its chang- Basic Guide to stereo; 24 CATALOG : changer plays his own compositions from th« film pages, including glossary of “Ascenseur Pour L’Echafaud” (“Elevator to the Gallows") terms...... SALE PRICE $3.49 ting com- Heathkit: Heathkit Hi-Fi. 28- build him- page catalog of all Heath 3. “The Fabulous Bird”-Charlie Parker, le wanted Miles Davis, Erroll Garner, etc. from the orig tuners, amps, enclosures.... Free inal Dial masters SALE PRICE $1.99 the stereo ALLiRD-recommended complete t one end Jensen: Bulletin JH-1 (sjieak- 4. JELLY ROLL MORTON-Piano Solos - Stereo systems. Choose from the ers, enclosures, kits) ...... Vocal Solos. Hot Six, Hot Seven world's largest stocks of famous name R rners that SALE PRICE $1.99 components — amplifiers, tuners, ' Lafayette: Catalog 590. 260 changers, speakers, enclosures, acces- '' pages, including kits and 5. Piano Jazz Vol. 1 Pine Top Smith, Cow sories;save most with knight® deluxe ■ ts a little Cow Davenport, etc. SALE PRICE $1.99 components. Build your own—save nstrument components ...... • even more with our exclusive Hi-Fi 6. Piano Jazz Vol. 2- James P Johnson, • can put Pilot: Stereo and You. Compo SALE PRICE $1.99 KNlGHT-KiTS.®Buy on easy terms.For Alex Hill, etc. everything in Hi-Fi and Electronics, Jr enclosures nents and consoles...... Free Write for our Jazz Bargain Liat get the 1960 allied Catalog! 4•|I Scott, H. H. Co.: Catalog of Visit our stores: 655 Lexington Avenue, corner 55 St., 41 West 8 St., 314 West 125 Amtiica't Hi-Fi Center ons Com- Components. 20 jiages..... St., all in New York. on what Shure: High fidelity. Booklet Record Centre ; used for covering stereo and mono 41 West 8 St., New York, Dept. DB9 ALLIED RADIO, DeM. 77-19 1. 2. 3. 4. 5. jre. There phonic tone arms, and cart Enclosed find checks—...M.O.. .for numbers lids' radio ridges ...... Free encircled. □ Send FREE 1960 ALLIED Catalog ¡ic at vari- Sonotone Corp.: Stereo Simpli Name...... — Name of these Address ...... fied. Pocket-sized booklet ex City. Zone...... stat«. Addmt. el on the plains stereo' recording and playback...... Fitee • City. Zone____State. September 17, 1959 • 25 out
Remore DeMiche *• *
ï CW 71a, com You know’, I’m so old, 1 can remember when Wil London C Personr liam Russo, the composer, was Bill Russo, the trom I know that bit about the beat, but conducted bone-player . . . Jinuny Giuffre’s understood . . Panama Francis, the drummer, can’t be put down for I understand Les Brown and Bob Hope have Those opening a grocery store He just knows where the divorced. Brown is going to Steve Allen. But who gets about li bread is. custody of ferry Colonna? laris km One thing that never fails to gas me is the length upportui Why does Tony Bennett look like he’s fighting off a This a of the pauses between tunes in a jazz club. Many mugger at the end of every tune? groups are guilty of this, and the whispered conversa de disqi The Post Office ruled it was illegal to send Lady tion which goes on between the players during these and ask Chattel ley’s Lover through the mails, so why don't thev bit sups pauses can finally be told: alter the who mailed those accordion lessons looks bl; “Blues in B-flat?” T aken “How much time we got left?” the score “So like, 1 told her . . .” orchestra Why doesn’t: “Night tn Tunisia?” to make Lucky Thompson record more? dancealil “Did you dig Playhouse 90 last night?” Gerry Mulligan marry Judy Holliday and gel it Mautova “Blues in B-flat?” over with? Anil then record an album titled The Bells This t “Man, like don't turn around ri^ht away, but dig Are Swinging? in stereo Rodzinsk the chick in the . . ." Petei Gunn wake up to life and have eyes for Lola “How does the release go?” too. \1T Albi ight? technical “Frank, have you seen your dentist lately?” Miles tell us all who his tailor is? “Sure is quiet in here . . .” Horace Silver record with orchestra (huge)—charts “Okay, blues in B-flat. One-two, one-two-three-four...” by Gil Evans? S CVPR I sure wish Dick Haynies would get back to more »kv CAP sky-Korsal serious singing . . . Personn I wish Ii a Gitler would send me the name and phone by Kiril I number of his uniter. Possibly he could pick-up a little commission for the referral. After all, Charlie First t Weaver has his letter from Mama; why can’t I have R( \ de a letter from Ira? As a matter of fact, to show what a antistatic spent I am. I’d be happy to devote a little space to any dust, he other letters he might like to write me—that is, if he’s praise lx not too busy studying French with Hildegarde, jazz history with Dick Clark, saxophone with Fred Mac blushed feci will Murray, jazz uniting wih Nick Kenny, Little League this coul softball with Junior, humor with Edward R. Murrow the pi ob . . . Bat why go on when I might spoil the sales of Ira Kondn Gitler? a superi! The Norman Granz Cape Canaveral Jazz Festival is disc, two orchestra meeting with further problems. It seems the whole Would anybody here who hasn‘1 been married Insteac line-up is being investigated by the FBI because, during elephant to Artie Shaw or Charlie Barnet please raise the initial rehearsals, several Tony Scott fans showed do, Kone their hand?" up carrying Bill Crow is Un-American signs. lhe au musical thorities also want to know why the promoters have climaxes Red Foxx, Red Rodney, Red Prysock, Red Nichols of orche espccialli ED SHERMAN and Henry Red Allen on the bill . . . Lambert, Hendricks, and Ross are down with a chest i as with un< severe case of fresh-air . . . 1 he si DOWN BEAT ■n review
• Records • Jan Record Buyers Guide
• Blindfold Test • Caught in the Act
Re-ordc are reviewed by Gene Lees. George Hoefer, Richard Hadlock, John A. Tynan, Don DeMicheal and Don Henahon (classical) Ratings: A A A A A Excellent, A AAA Very Good, Ua/loai; Sunday Parade; Chickasaw Bluff Personnel: (Tracka 1-4) Bailey, clarinet: Red AAA Good, * * Fair, * Poor. fSl = Stereo M| = Monaural. Richard«, piano; Gene Ramey, baas; Jimmie Crawford, druma. (Tracka 5-7). Bailes. Herman Autrey, trumpet, Vic Dickenson, trombone; Hil ton Jefferson, alto sax; Richards. Ramey; Craw close as in some versions of these warhorses, ford. CLASSICS but there is a grand feeling of sweep from Ruting. AAA one orchestral choir to another and Ron- (hashin constantly finds fresh aspects of Two men born in Memphis, Tenn., get together here ancl recall some of the jazz Ansermet / N utcracker the scores to bung to the fore. S CASSE NOISETTE (The Nutcracker), Opus lore of the old home town. W. C. Handy, 71a. complet: two-uet ballet by Tchaikovsky— and the Beale Street jazz scene pre-1920. London CSA-2203, Makunowitsky, Lee Personnel: L-Orchestre de la Suisse Romande, Buster’s father was part owner of the conducted by Ernest Ansermet. M BEETHOVEN SONATAS FOR PIANO AND Panama cafe on Beale St. and started as a ust hope VIOLIN N" 4 in Minor Op. 23; No. 5 in F Major, Op. 24 tSpriuft; No. 8 in G Major Op. voting lad plaving clarinet for Handy's 34 No 3—Vanguard VRS-1038. band. Craw foul tic 1 ped to found the great Those snobbish types who are sheepish • BEETHOVEN SON XT VS l-OR PIANO AND »pc have |immie lunceford Chickasaw Synco- about liking the Tchaikovsky music popu VIOLIN No. 6 i» A Major Op 30, No. 1; re ho gets No. 7 m C Minor, Op. 30, No. 2—Vanguard pators) band during the early ’20s in larly known as lite Nutcracker have a fine VRS-1039 Memphis. opportunity here. Personnel : Paul Makanowitzky, violin: Noel ting off a Lee, piano. The Memphis boys dominate this rec- this album goes under its French nomine Rating: -AAA de disque, so that one rnay step right up old, made in February. 1958, although Two fine young musicians, relatively un- “ml Lady and ask for Casse Noisette and even feel a Richards of Brooklyn gets oil some sensi known in this country have embarked on Ion t they bit superior about it if the clerk merely tive pianistics, especially on Memphis the traditional journey through Beethov ui lessons looks blank Blues. Crawford long has been considered en’s duo sonatas, these two records being I aken for what it is, superb ballet music, one of the best all-around jazz drummers Volumes I and II of what undoubtedly is the score is worth serious treatment by an in music, ancl heie he demonstrates well to be the full series. orchestra, and Ansermet is just the man his abilitv to work with the individual I lie Spring sonata is always a good test to make this music wonderfully light and soloist in mind, as well as affording a tre case in such an enterprise, and Makanowit- danceable without making it sound like mendous drive for ensembles. His work on sky and I ,ee more than do it justice. Each Mantovani—no easy feat. Chickasaw Bluff is rewarding. The Indian 1(1 get it is a fine musician in his own right, but 1 his is the second complete Nutcracker flavor of Bailey’s composition named after The Bells they have that added ounce of rappott, in stereo. Westminster was first, with Artur the original name for Memphis is inter without which chamber music becomes a Rodzinski's version, and a good one it was, esting. for Lola sterile exercise in bowing and fingering. too Ansennet’s, however, tops it on both Handy’s Memphis Blues (originally Mr. All these sonatas are plaved with under technical and artistic grounds. Crump’s Blues) is given a concert treat- standing, tonal purity, and well-thought- ment for seven minutes, on which Bailey out phrasing The two records add up to a ;) —charts brings out his entire bag of tricks, includ- Kondrashin Caprices most promising debut. ing some old-fashioned flut ter-tongue S CAPRICCIO IT ALIEN. Op. 45. bv Tchaikov to more sky; CAPRICCIO ESPAGNOL, Op 34, bv Rim- flourishes. It is worthwhile to follow Craw sky-Korsakoff—RCA Victor LSC-2323. ford’s drumming back of the Bailey virtu Personnel : RCA Symphony Orchestra, conducted by Kiril Kondrashin; Oscar Shumsky, violin solo JAZZ osity. nd phone ist. ii
fluctuates phras uig is over-rclaxa- ot some of ge-podge of een of one ie dilution, ar the tasty elly’s manly hum* Plas oitlta odliy ANITA on most of O'DAY h. She ■ hardly uould
1. 2 DAY IT VOL 2— 2. Scrapple Give Me the Artist of the Month . Past Thint “Jazz to me is singing what is happening now,” explains the Ibam, leader* Ernie Royal, vocalist who uses her voice like a musician plays an instrument. Tommy Mit* s Auld, tenor Original and personal, Anita’s style possesses a wry, sly c, flute: Gene humor in its renditions Her special flare for interpreting a bass clarinet; Katz, piano; sardonic lyric with irreverence generates the heat which ms. (Track 2> makes her one of the last really hot jazz singers She has a Jone*, has»; The Best of Anita O’Day rhythmic style, scats with a titillating boldness, and on u-orgie Vuld. on Johnson. on These Verve Albums. ballads, establishes the melody and then goes for herself in the Don Bagley, intt, trumpet second chorus. Anita O'Day always causes ears to open , bn*»■ Boh MG V-8283 ANITA O'DAY wider — there's so much more to hear when she sings a. (Track 6) MG VS-6002* SINGS THE WINNERS
MG V-8259 ANITA SINGS THE MOST n hall jazz Anita O’Day and her rhythm section red hr this :ar, already MGV-2118 ANITA O’DAY SWINGS includes a MG VS-6059* COLE PORTER WITH BILLY MAY closing big hut not the MG V-2113 ANITA O'DAY AT MISTER KELLY’S when Steve MG V-2050 AN EVENING WITH ANITA D'DAY j bench, though, and MG V-2049 THE LADY IS A TRAMP almost com- Anita O'Day Ibam’s brass en's reputa- MG V 2043 PICK YOURSELF UP WITH us is pretty ANITA O’DAY tenor. Quill MG V-2000 ANITA - Anita O'Day Sings niter, Scott's Orchestra Conducted s in suitable by Buddy Bregman up, and the lurrell. good ted blurs b- "Stereo lore relaxed ttld sets the rpening solo asily. Xuld’s bow to the «ging e and Stan track, flutist h on whim the concert)
solos deh iotts Bug# getting off tastelul solos cm muted trumpet and. later a S T vibes McKusick is mellow and ruminative tour: .Vo on bass clarinet and blends attractively Come Hot Love flak MISS ANNIE ROSS with Hliott's uumpet after the laiters Per-onn vibes solo and a nicely sructured Katz out Ross voe piano Pr ing. Ed Jones. Fast Thing, which closes the proceedings, The n is a romping trio session with Alien show ing his boogie-woogie left hand and the group. v reste« I (. Hinton-Johnson team digging in. Count 1! If the recording quality is not ideal here, with THE SWINGERS the music is the happiest. another LAMBERT ■ HENDRICKS • ROSS Billie Holiday challengi M STAY WITH ME —Verve MG V-8302 I tunes as WORLD PACIFIC 1264 • STEREO 1025 H ishfd on the Moon; Ain't Misbehavin'; Every* the Tim thing Happens to Me; Say It Isn't So; I've Got My Love to Keep Me Warm; A ways; Do Nothin' The a Till You Hear from Me. dricks' i Personnel: Miss Holiday, vocals with sonncl unidentified. of the Ei Rating: it ★ 'J or a line original THE GERRY MULLIGAN QUARTET There is an ineffable sadness —in* Indi ccrnible decline of an artist's WORLD PACIFIC 1253 • STEREO 1020 pauses < retain command of his or hei ait. I hose writing ■ of us who beheld the pathetic spectacle of abilits o a waning Ladv Day during her Iasi vear as soloist or two never felt this more keenly. Her THE BROADWAY SCORE oi GYPSY into the singing on this album (date oi recoiding thev hav is not listed) liears poignant witness to with 3 ’>e g her steady deterioration. Ihe vocal qual well co BUDDY BREGMAN ORCHESTRA ity ix sporadically pool with onlv occasional solos am flashes tin* old Billie that goe her pitch falters. Bv all But no matter how sick the Ladv w; on this date oi whenever she appeared R GOOI AN EXCLUSIVE WORLD PACIFIC To« Still her art remained undimmed: the intense All ihe 1 at Cornar RECORDING ARTIST feeling, or rather range of feelings she the Devil always communicated. I his is here. So is See You ; Personn the vonchoudv natural phrasing that made Pete Jolly her Queen. I he accompaniment by rhythi A g
Suing with By Leonard Feather 190) rious artists, Since his last Blindfold Test, Quincy Jones has grown as a musi cian. a name, and a power in the world of jazz. The respect for the ibers the Big 26-year-old arranger has spread abroad. Most of his time in 1957-58 * DL >862, was spent in France, with occasional side trips to other countries. en, Tin- Big His work with Eddie Barclay and Harry Arnold on the records he 08) made in Paris and Stockholm have produced acclaim for all three. mes (M G M By the time these words are read. Quincy will be well along with plans for a big band of his own, not just for a record date this time, A Im King nor for an ephemeral Birdland life, but with big commercial touring 28. S UAS eyes. I suspect that Mercury Records’ support. Quincy's talent and Beauty and instinctive feeling for quality, taste and leadership, may produce IS SI 1219) results where too many aspiring leaders in recent years have been liuah Patrol, limited to sporadic gigging with an inconstant personnel. ind 2 (War For Quincy’s latest Blindfold Test I selected items representative B 1318) icholv Baby of very recent big-band developments, most on stereophonic records. The interview was tape-recorded, and he was given no information, 'An orchaitration should enhance.' before or during the test, about the records played. ou’re Away The Records Adams. The alto could have been Phil continuity in backgrounds or thematic >8) Woods . . But again, it's just a big ally. It was an interesting sound though, at the Blued 1. Front Ortega-Sy Oliver. 77 Suntef Strip (Jubilee). Lawrence Brown, trombone; Sam band—there's nothing to retain iden with that wooden quality of the flute— 17, ® IAS Taylor, tenor, Ortega, piano,- Bert Honvon, tity. I know it's a difficult thing to get almost like a woman’s voice. Two stars. bass, Walter Sage, drums. something different, hut it’s either feel ’traits (Ron 6. Thelonious Monk. Crepuscule with Nellie This is probably from one of those al ing or sound that gives it identification. ) bums cutting TV themes. The trombone (from Monk at Town Hall, Riverside). Phil he Newport 1 have no idea who the clarinet player Woods, alto sax; Hall Overton, arranger. sounded familiar to me. and the tenor 757298, SI could be Give it three stars. player sounded like— -1 don’t think it That’s obviously the Monk big band 4. Horry James. Molen Swing (Capitol) Willie at Town Hall. It’s Phil showing his ‘ennies, Syn- was Sam Taylor—it might have been Smith, olto sax; Ernie Wilkins, arranger. idiophile R Plas Johnson. head again. I’m not in complete accord It's a good television theme, but I Harry James . . . This was a regular ance with the way this was orchestrated ’ennies. The think the only reason they cut il was to band. I recognize somebody being very Hall did a good job, but I don’t know •ick * BL get on the Mancini bandwagon—unless close to Basie. The arrangement sounded whether it’s just the idea of orchestrat thev had the first lead sheet on it . . . familiar from the first—those little ac- ing it . . . It’s orchestrated straight from Sew Orleans The performance wasn't up to usual cents. It was Ernie Wilkins—my uncle, the way Monk plays it. and I’m sure he studio standards. The rhythm section Because of F.rnie a lot of feeling was prefers it this way. but it sounds as anges (Blue was a little loggy . . It could have been injected in the band that I usually though he’s showing the musicians how don’t hear. I think the guys played it it should go, and the next time around a, Modetn much crisper. Two stars. as they liked to play it, and whether it they’re going to take it up in its origi L 757273, 31 2. Let Brown-Vic Schoen. Four Score 4 Seven (From Stereo Suite for Two Bands, Kopp) sounds like Basie, they did it well. nal tempo. T. (Decca Alan Rots, flute; Arnold Fishkin, bass. Willie Smith gave it away, but there That internal doubling is good for Well, it that wasn't Hank Mancini, was also some familiarity about the some effects, but all the way through the Round- it should be. When the saxes went into arrangement all the way. Ernie’s al it’s not very effective There's so much SR 25080) ensemble, I got confused, and from most like my brother ... I can follow meat in his work, and he's definitely rcstige B SI then on it could have been anybody, the things he does. a shepherd. but the flute player sounded like Harry Willie Smith is a good example of I don’t know—this might not be '.wings Show Klee or somebody from that group the thing I feel is wrong with bands the solution of what to do with his It's either Mancini or somebody playing today—identification. I think there was work. I know Hodeir talked a lot about ger Poppin’ Mancini things. more variety tn identification a couple orchestrating Monk’s works, and I I think he was the only one who cut of schools ago. Willie has his own thing think he did some \’ina Sifnone the thing with a big band. Peter Gunn going—regardless of what it is, it's Wil He has a lot of hope of Monk’s in 1 liked the first part—the quarter tiip- lie Smith 1 wish there were more shep fluencing arrangers in the future, and unds (Blue lets against the bass figure that was herds instead of so many sheep. Four 1 think his work is going to have a tre effective—anil the flute. After that it stars. ttz Themes mendous influence on modern jazz. was just another band—-except for the al « ( RL 5. Machilo. The African Flute (Roulette). Herbie This way, though, it’s not entirely con jungle music. Two stars. Mann, African flute, composer. vincing. and his work is always con 3. Benny Goodman. Happy Session Blues (Co eather Pre- That’s weird! It sounds like it might vincing lumbia) Goodman, clarinet; Pepper Adams, I 511) baritone sax; Herb Geller, alto sax; Bobby be a recorder—a wooden recorder. It I didn’t go to the concert and haven't iarah (Mer- Gutcsha composer, arranger might be Herbie Mann, because it’s a heard anything but this. 1’11 give Monk Well, one thing sure, the clarinet guy who thinks very flutish . . . The five stars as Monk, but with his assist ’ the Blues player was the leader. The arrangement rhythm section is very good -sounds ants here I’ll say two stars, because I was very good, but I don't think it was like Machito’s rhythm section. think it doesn’t elevate the composition Sings About played as well as it could have been. The orchestration and composition as much as it should. An orchestration SR 52030) I think the baritone player was Pepper sounded kind of amateurish —not much should enhance rather than detract. September 17, 1959 • 35 (Continued from Page 6) lished, none can be compared to thi one, men and which gave the most complete jazz courage Bern ar I have ever -ecn peter wb is due to your writers, particularly Lennard modern Feather, Irving Townsend ot Columbia records, and RCA A it. tor's Stephen Sholes trumpet The articles were outstanding . . gigged w Pittsburgh Thomas Rcilh transposi alto part Apropos of DB, \ug. 20. Page "It wi 10 lines from the bottom—hoo kept \oi vou got my number. rangcmei ew A'ork Martin Williams loved to BILL HALEY (Thank you—and welcome to Earth!) had Ton leader of the world’s for note. No. 1 small combo, On behalf of Mr. Lion, as well as myself, After I wish to thank you for the Silver Medal solo. Wa continues to rock 'n roll Award . . . prospect; with Gibson. Popular Decca were, ht recording artist, his famous of his fi Comet combo has already band, an peter W topped the 12 million record ■ picture. Paul up instru picture and Anita O Dav's mark. It is only natural that pic tine the tiont cover There is no hand. Mr. Rock'n Roll—the globe need * edition is icalls and Trekk on a grii trotting guitarist with truly a wonderful one. unfamilii everything, should select A With kindest regards, New Aoik the horn Gibson,the instrument kins beg with everything. Just saw tiie 25th Anniversar' edition around 1 ot Down Heat and want to go on record “A gre saying that it is second onlv to the a bittern pocketbook edition of Maishall Stearns reported, Story of /a is a jazz liteiature bargain. to be dir v< hen jazz awaits the next looking genius ... a summation of jazz histon cause wt may not long be a rarity, but your issue mentioned the right people anil featured confining the right pens. and not Bolt Koester Chicago Delimit Records “Field hut he la strange c More on George Crater Get ‘Hip’, you’re never tired after playing AMRAWCO heads a strang Certainly one need onlv compare any you can says Ray Mosca with George Shearing Quintette” issue of the last half-year with an issue of, some tor say, three years ago to realize how far there wa Down Beat has slipped as a music maga in bed a zine of critical quality and importance, but 7 o’clocl has it come to the point where the editors thought must use such an incredibly banal writer as Ciatei to fill an entire page? The sort of maniac." material upon which he dependent Three may be at most diverting for one page of for Wat one issue, but at any great length, its in found wl clusion onlv points out the poverty, in im there hai aginative terms, of the present Down Beat Denver, writing staff, this with the sometimes ex sideman ception of George Hoefer. a place 1 Apparently I bold a minority belief in At first, my opinion of Mr. Crater if. as it would trumpet, seem, he is to continue on your staff. If. then, he is part of a trend which lias some- French 1 how swept past section li mediate coup and make the first bid for the —KaaBaRa,» AMERICAN RAWHIDE MANUFACTURING CO services of Sidnev Skolskv? I can see it now: spent nillianvv 1103 N NORTH BRANCH ST - CHICAGO ILLINOIS “What Gerry Mulligan Really Means to enee, .. .at your favorite dealer s Me,” By Susan Hayward, as told to . . . horn, SEND FOR YOUR FREE COPIES OF "ALL ABOUT DRUM HEADS Anvone for Jazz Review?. ally cor AND EXCLUSIVE THICKNESS GAUGE BOOKLET young b P.S. Since I realize that this lettei will ested in never be printed, let me add this business rehearsal addition, when my subscription is up. don't als. aboi bother sending me a renewal card. strictly b DOWN BEAT e 6) (Continued from Page 15) to ibi' one, men and saxophonists, principally C hu jazz coverage Bern and Buster Baker, a local trum I recognition peter who even then was more of a arly la mani modem chord player than the other >t Columbia trumpet men Watkins heard. Watkins phen ''holes. igged w ith a neighborhood dance hand, Reilh transposing trombone parts or third alto parts. "It was tiring,” he admitted, “but it kept ’ ou interested. We had stock ar rangements of all the big-band hits. I on Williams loved to play Song of India because I HANK GARLAND WM to E L Savo> s the hot box MONEY SAVING OFFER with C forw.ir ______By George Hoefer The Book of Jazz by Leonard Feather avidh You'll wont to own this all like Jazz as a growing art form has pre collection of Bolliett's pieces You need this newest widely-hailed guide commi to the Entire Field of Jazz—fells all about from The New Yorker. occupied me for many years. The jazz great p “Balliett is a poet and he listening experience has been mine in • Its nature, instruments, sources and My 1 sounds brings the eyes and ears of the hundreds of settings—from a drug store York s poet to his interpretations of booth where the new record releases • Its development, performers, composers there is jazz and jazz musicians... race problems, and its future. [his book includes] a pair of were checked each week during recess, soul v* a excellent essays on jazz drum through the speak easy days and the * Includes famous “Anatomy of Improvisa ing ca tions" with first time anywhere music of ming and a brilliant piece on social parlors maintained by the Al tion as the blues."—JOHN S. Wilson, Capone gang for the education of young 15 jazz improvisations of the greatest New York Times Book Review soloists of all limel of hien men, on up to the hot July afternoon music “A remarkably equipped con The Book of Jazi $3.95 noisseur.”—JOHN UPDIKE sun at Newport. gory to 1 year of Down Beat 7 00 THE SOUND It has been a slow but constantly rendoui changing scene with attendant factional TOTAL VALUE $10.95 the pe OF SURPRISE squabbles, much self-searching in the at 46 Pieces on Jazz BOTH FOR ONLY $8.95 Dukes tempt to determine whether the impor BY WHITNEY BALLIETT resea rcl Take advantage of this tance of jazz lies in its relaxation and Whei $3.75 at all bookstores sensational offer nowl entertainment values (the good time E. P. DUTTON A COMPANY in 195 jazz concept) or in its status as serious had m contemporary music, and with a con Down Beat Magazine 205 W Monroe St., Chicago 6, III. amazed tinuous fluctuation into and out of the strong । □ Enclosed ONLY $8,95—Special “Combo Deol' commercial entertainment world. er's irr □ Enclosed $7.00—1 yr. Down Beat olone 126 Prior to my self-imposed exile to issues) dynami upstate New York in 1955, I was in □ Enclosed $3.95 for The Book of Jazz olone of the clined to be an amused observer of the modern ever-changing jazz scene, and disin all wert clined to take any aspects of jazz too son tha Address seriously. 1 had found myself in a rather Othei funny situation back in the 1940s. The zone.... State. happen! Hot Box was essentially a record collec tion. Tl tors’ column in those days, and collec address tors of jazz records during that period Orchest The best play BESSON were of necessity in a category then sium at termed “mouldy figge”. Consequently, COLD SORES June, it to this day, in some quarters I’m still the casi thought of as a Dixieland fanatic. Just FEVER influenc the other night a former reader came BLISTERS Schul up to me in the Village Vanguard at STOP along t Turk Murphy’s opening and said, “Gee, and Joi you don’t know what it did to me to Jazz Qi start reading about modernists in The final coi He referred to the time, a Hot Box." Festival EARLY APPLICATION MEDICATED FOR decade ago, when former editor Ned idea of USUALLY PREVENTS QUICK RELIEF. DAILY Williams told me to write about any music a thing I wanted in the field of jazz, after THE UNSIGHTLY USE CONDITIONS FORMATION OF A ern ja I had complained that I was tired of THE LIPS, KEEPS THEM COLD SORE OR Symphc chasing after master numbers. FEVER BLISTER SOFT AND HEALTHY. Lewis i BUCK CLAYTON-One of the prominent Now I can hear someone say, “If stars who play Besson brasses follow e< you’re so modern, what were you doing ing imp at Turk Murphy’s opening?” I was there Anotl because I feel should take ARE YOU AN Down Beat union if GUITARS cognizance of everything happening in UNPUBLISHED AUTHOR? Duo. v the wide wide world of jazz, and be roll have a (took length manuscript you would like to published. datT will be glad to ««• French sides, I like Turk Murphy and feel he dder it. Our program has launched many new writer« Submit your work for free editorial evaluation and fur rhythmi has made definite contributions to jazz ther information. We consider all types of material: Action. jMHdry, juveniles, religious lx»oks. scholarly work. People in the tune researches he himself has GREENWICH BOOK PUBLISHERS this cor made. There isn’t a band today with a Alien: Mr. Urey 489 Fifth Ave., N. V C triumph larger repertoire of historically signi And ficant tunes. jazz is Getting back to the 1940s and the Exclusive Photo* ingly ac NEW . New Orleans-bop struggle—an imma BANDS IN ACTION about tl ture. meaningless fracas if there ever Action picture« of all name leaden, mu good tii was one—I spent a great deal of time in sician«, vocaiiat« alao Rock ’n' Roll Artist«. CATALOS Guaranteed to please. 50c each; 4 for BLOB. it are ! those days at the Session Record Shop ARSENE STUDIOS Could ai in Chicago, listening to the latest Guilds. 756—7*h Avaaae, N. Y„ N. Y. Glossy 8/1# Unobtainable eisevhers ing peri 4700 W WALTON - CHICAGO 51. ILL. Musicrafts, Dials, Continentals and orchestr 40 • DOWN BEAT Savors, along with Monks early sides OFFER with Coleman Hawkins’ band. I looked for«. rd to the latest Bird release as (D lazz avidh as did guitarist Jimmy Raney. We ior all liked Groovin' High, but were non hailed guide committal about Salt Peanuts. It was a Ils all iboul great period oi discovery. lourcei and Mv period of isolation in upper New York state was in an atmosphere where LU , com poten. there is a tremendous lack of soul. There, soul« as replaced by a chrome-like gleam CD it Improviia- ing conformity with ultimate destruc tion as its unassigned goal. It was a sort 01 the gieateit of hierarchy of mediocrity which placed J. J Johnson says: LU Û music tn a strictly entertainment cate 'The smoothest slides I've S3.95 gory to he showcased with the more hor ever tried are always on .... 7 00 rendous aspects of hi-fi I lived among Kings and I hear they’ve $1095 the people who buy records by the (D just figured a way to make (8.95 Dukes of Dixieland and who. consumer research has proved, are not jazz fans. them even smoother. My (D hit Kings stay in adjustment, w' W hen 1 returned to New York City in 1958, there were developments ( and there's no sound to o had missed. Some of the new stars compare with them.” amazed me when I heard them The E strong emotional content of Art Farm LU “Combo Doal" this year, last year, next year — er’s impeccably played trumpet, the eat olone (26 Ihe sound folks are listening to dynamics of Horace Silver’s piano, some it mode on Kings (0 F Jazz alón« of the ensemble sounds presented by modern groups such as Charlie Mingus’, 0) all were more wonderful to hear in per (0 son than on records. Other significant things were also happening in the field of jazz promulga 917 M tion Things such as Gunther Schuller’s address to the American Symphony KING • CLEVELAND • AMERICAN-STANDARD BAND INSTRUMENTS Orchestra League composers’ sympo sium at their annual convention this past ► SORES June, in which he effectively presented the case for the acceptance of jazz— I EVER influenced serious compositions. For College Students STERS Schuller himself has done much work along these lines. As an example, he « and John Lewis, pianist of the Modern who love music and want all the news about it Jazz Quartet, w'orked together at the final concert of the Empire State Music > This year down beat is offering a SPECIAL STUDENT RATE for all Festival in Bear Mountain, N. Y. on the ? TED FOR \ those in college Certainly music is an integral part of college life— EUFF. DAILY idea of combining composed orchestral EDITIONS music and the improvised idiom of mod ’* as a study, as a “relaxer" and as the medium that forms life-long , KEEPS THEM ern jazz. Schuller conducted the Symphony of ihe Air orchestra, while friendships. An intimate knowledge of music, ot the people who ID HEALTHY V Lewis and the Modern lazz Quartet £ create it and of those who play it will greatly enhance its enjoyment followed the score as well as perform ing improvised parts. N Another impressive jazz-classical So take down beat to school with you this year. union is the work of the Mitchell-Ruff THOR? Duo. where a piano-bass or piano French horn combination give a highly nany new writer»- valuation «nd fur* rhythmical treatment to classical works. students name ypes of material: s, scholarly work. People will pay a lot more attention to ISHERS this combo after their recent Russian triumphs. college address And so there is little doubt now that jazz is a serious art. and it is increas ingly accepted as such. I am very happy city zone state ION about that. But at the same time, the leader«, mu- • Roll ArusU good time or self-indulgent aspects of ; 4 for »I.M. it are still very much on the scene. college graduation year 'S Could anyone doubt that after the swing „ N. Y. tbie else» her* ing performance of the Duke Ellington □ one year $5.60 9179 orchestra at Newport this year? September 17, 1959 boulevard the night Jean Sanr/son opened at The Regency. remain«. < caught in the act that it i Miss Sampson, by virtue of her dy ence-snu namic singing (and. incidental^. a seem* to BOBBY DARIN Columbia recording contract) is \ureh The Cloister, Hollywood destined for the musical big time. An At ti Personnel: Bobby Darin, vocals; or excellent showwoman, she bowed on though chestra conducted by Richard West, with the night of review attractively gowned three nis Dick Berkeley at the piano. and backed by a jazz group sparked by pianist I Self-assured, almost cocky in manner, Gerald Wilson’s economical an.mge- rest— w a young Bobby Darin cradled a sophisti ments and fluent trumpet. lent. An cated house in the palm of his hand The opener, Rui Not for Mi. was dined, i opening night on the Sunset Strip and taken up tempo with the singer belting swing th made his bid as leading contender to the into the second chorus like .1 jet smash ter’s pov title. Young Sinatra. ing the sound barrier. An uninhibited The g Borrowing liberally from the masters vocalist. Miss Sampson never hesitates bers per —Sinatra and Bing—Darin rocked and to unleash her considerable power when known ji sw ung his way through a dozen numbers the song calls for it. Sometimes this by Rush that testified to sound showmanship and can work to her detriment, however, building musical integrity. He had the audience as in Happiness Is Just a Thing Called thing wa clamoring for more. Joe, when she tended to drift into blat- though t He kicked off w'ith an uptempo Lone ancy on some of the sustained notes. the same some Road that owed much in phrasing Nevertheless, she handled the ballad to Sinatra: followed this with a medium The 1 with plenty of feeling and showed off nates wi up Some of These Days; then drove the her good breath control. punch home with a reprise of the suc Louisvilh After an up treatment of Lover, in cessful Mack the Knife from his fast in a nan tended as a closer, the audience de selling Epic album / Can’t Give You the perf manded an encore and was given a fast Anything But Love was set off by nights, b Take the ‘A’ Train a la Betty Roche Lunceford-style saxes during which and som< with Miss Sampson taking off on some Darin allayed doubts about his com The ii quite good scatting. mand of volume by opening up and unusual: belting at the critical moment. With a little more empirical experi anist M ence and good vocal counsel, Miss His She Needs Me, a ballad, was schooled Sampson no doubt will learn to whip outright imitation of Sinatra in phras sical feel her present tendency toward stridency ing and timbre—and who is to dispute tooted i As it is, she is an exciting singer with this sincerest form of flattery if it is celeste, i a sure feeling for jazz swinging and well handled? In this, and in following ternates < the personality to project and reach the songs (a rocking Down With Love and a wide i stiffest audience. —John Tynan I'll Go My Way, for example) he the grou showed a relaxed delivery and, again, over a d< a decided propensity for holding notes JIMMY RUSHING-HARRY EDISON- THE TRADEMARKS Gene like F.S. exceptior Blue Note, Chicago In addition to a carefully constructed brother, act, much credit for Darin's success at Personnel: Rushing, vocal-: in the diately ai FIRST CHOICE The Cloister (and, presumably, on other Hurry Edison quintet, Edison, trumpet; This writ stands) must go to the expert con Jimmy Forre-t. tenor; Tommy Flana OF MEN WHO gan. piano; Tommy Potter, bass: I Ivin well befc ducting of Richard West, an ideal music Jones, drums; in the Trademarks, Gene lievcs tha KNOW BRASS! director tor the youngster. Klingmun, clarinet, alto and recorder; the outs Frank Halton * Co., Elkhorn. Wi». Whether Darin is destined to develop Don Murray, piano and celeste. much-nel Trumpets in Bl, C and 0 "4 Cornets an individual style remains to be seen. Because the belting performances of short tin Tenor and Bass Trombones 4 French The fact remains, however. that in his blues singer Jimmy Rushing have been Horns * Harmony Brass * Saxophone* usually g astute sources of derivation, this young so much chronicled in these pages. it is of appio singer could hardly do better. Moreover, best to consider primarily the two it foolish he has the true sense of time and phras groups appearing with him. strument ing—not to mention a good voice—to Sweets Edison is heard to good ad- back it up vantage in the loose-knit jamming The gi Clearly, Bobby Darin has emerged group he is now fronting He varies his sound in from the juvenile rock and roll league performances between belting open ages. ant and now is preparing to carve himself horned playing that uses some modem ment. cc a hefty slice of adult Big Time. idioms—though it remains rooted in the smooth, swing era of which he is u product— lazz. or JEAN SAMPSON and the other kind of playing for which integrate« The Regency, Hollywood Sw’eets has become best-known in re peal to ii Personnel: Jean Samp*on, vocals; cent times: the lovely tight, muted semi mans ori Gerald il*on, trumpet: Bob Hardaway, ballad trumpet he has played on so David K The NEW Sound in Cymbals tenor; Marl Young, piano: .illy Farris, very goo« ba-*: T. Riley, drum*. many of Frank Sinatra's I Ps. When really good singing talent Sweets usually stood casually cross Blue 1 legged, leaning against the piano, to who has throughout the world emerges on the jazz front, a bell rings loud and clear in a reviewer’s head play, as if the histrionics demanded o* and little Bells were ringing all over La Cienega band-leading weren't tor him and hi seems to 42 • DOWN BEAT remain^ J not too enamored of all else that it involves. This is not the audi • of her dv. ence-snubbing of a Miles; Sweets just identallv. a seems io concentrate on his playing. ct) is surelv ig time. An At times, the group was ragged, ' bowed on though its solo work on the two oi vely gowned three nights heard—particularly that of » sparked h\ pianist Flanagan and tenor man For :al arrange- rest—«as good, and sometimes excel lent. And when the group was so in or M< was clined. it got off some collective hard inger belting swing that owed much to Tommy Pot a jet *mash- ter’s powerful bass for its cohesion. uninhibited The group played about three num ver hesitates bers per set — standards and better- power when known jazz tunes—before being joined netimes this by Rii'hing for a series of steadily- nt, however, huilding Rushing perennials. The whole Lhing Called thing was relaxed and refreshing, even iff into Hat- though the group’s members arc not of ained notes. the same schools of jazz. Ihe ballad The Trademarks, a trio that alter I showed off nates with Sweets and Rushing, is a Louisville, Ky. group making its debut jf Loser, in- in a name club. Nervousness impeded ludience de the perfoimances the first couple ot > given a fast nights, but later Ihe group fell together Betty Roche ind sometimes broke things up. off on some The instrumentation of the trio is unusual* piano, bass, clarinet. Since pi irical expen- anist Murray, an exceptionally well vunsel. Miss schooled musician who combines a clas arn to whip sical technique with a peculiarly bare ART PEPPER stars with his MARTIN alto rd stndencv footed down-home sound, also uses ! singer with on Contemporary and Intro labels. celeste, and since David Klingman al winging and ternates alto with clarinet and recorder nd reach the a wide range of voicing« comes from -John Tynan the group—for example, clarinet lead Y EDISON- over a dense piano-celeste combination. Gene Klingman is a bass player ot Wm. S. HAVRES (0 exceptional promise. But it is his 12 Piedmont Street brother, David, who is the most imme cal*; in ihr on, trumpet: diately arresting musician m the group. Boston 16, mass >mmy Hana- This writer, who had heard the group haws: Elvin well before the Blue Note booking, be ■murk*. Gene lieves that he could well become one of FLUTES - nd recorder: lente. the outstanding practitioners of the PICCOLOS much-neglected clarinet, and in a very formances of short time. What’s more, he plays un REPRIRS — Oil mokes ig have been usually good alto, with an individuality ¡e pages. it is two of appioach and tone that would make it foolish for him to abandon the in n V Branch Wm. 5. HRVRE5 (0 strument—something he has thought of. to good ad- 157 West 57th Street, Rew Varh 19, n 9 ut jamming The group has a distinctly individual sound in many ot its ensemble pass He varies his HUTES - PIH010S - REPRIRS— nil makes siting open- ages. and. at this point in its develop ome modern ment could go either way: toward a rooted in the smooth, commercial brand of cocktail a product— jazz, or toward the more thoughtful, ng for which integrated serious jazz that seems to ap nown in re peal to its members. (They use a great October 1, 1959 Issue muted. semi- manv originals, some of which, such as 7th ANNUAL SCHOOL BAND EDITION layed on so David Klingman's Nothing Really, are very good.) on sale September 17, 1959 sually erosi Blue Note owner Frank Holzfiend, le piano, to who has helped bring so many young featuring Maynard Ferguson on the cover iemanded oi •ind little-known groups lo prominence, him and ht seems to think this one is a comer. plus "Cannonball” Adderley, Quincy Jones, and many others. —Gene Lees September 17, 1959 quite ludicrous—sometimes down right hysterical-in purportin'; to de singer Li What pict the living habits of oui beats. and hi- 1 The use of Armstrong in ihe pic The Henn R< Makes By John Tynan ture is bewildering in its illogicality. Clearly, Satch was hired for his name the Nt "1 loo la l e only, for, as needs hardly b< stated, one-nighi the beatniks have no use for him Two recent motion pictures that Joe J«»nt indicate the commercial interest of Armstrong is first on screen, sing Mas Ht GOOD Hollywood's masters of mass culture ing the title song (a nothing ditty •loser op in jazz music and/or musicians are by Tom Walton and Waltei Kent trio . - . Anatomy of a Murdet and The Beat over the unreeling main titles Loui> Man Generation. and his men are shown twice latei Though poles apart artistically in the picture, and the trumpeter is lington a GREAT? anti in terms of audience catharsis, even permitted to trade two lints ol ad lib. -J .. a lot of things beside« good training! the two pictures make a suitable di.dog with Steve Cochran, who plays goes to P But if you’ve talent . . . are in shooting pair from the standpoint of compar “the good cop.” immédiat distance of the TOP . . why not sharpen your Aim? ing similar exploitation of jazz by, The story deals with a beatnik Be coached on techniques . . . reviewed on respect ivelv, Otto Preminger and whose avocation is rape until he is era Jazz fundamentals . broadened in musical the brought to justice bv detective Coch ory and history It’s the way ahead! Al Zugsmith. British t ran. The setting is the Los Angeles Advance your TRAINING at Homo Preminger obviously sought to Hall in area and the beatnik locale of Ven cash in on the Duke Ellington name Buck ( I . . . conveniently . . tackle the weak sppts ice, a slum beachtown Here the in your performance. Develop that unmistak as added prestige for the film more Dickt W rapist maintains the plushest pad able sparkle of flawless perfection . .. widen than taking obvious advantage of Charles your versatility ... accept more top jobs ever seen on rhe seashore, engage» the man’s creative talent. Zugsmith to Standi . . . win over more audience, in some quite idiotic “hip' conver similarly snared Louis Armstrong betk and ImstiiGte UEC AdviRte TnlniB; mw. sations with his pals, and prowls the for sales value and took even less Ward Sit Send for catalog of Courrc Announcements. night for victims. Check subject of most interest below. Receive advantage of his presence. 1959 sea free sample lesson. Write today. Armstrong’s other turn is Someday been sigi Anatomy is a better-than-average You’ll Be Sorry, which he plays and crime picture skillfully directed and B UNIVERSITY EXTENSION sings to the weirdest ballet of beat elude Isr with good acting. There is no un niks ever filmed. And the hangout other go> ■CONSERVATORY derscore. The credits read “Music in the film, called the Golden Scal jngers S by Duke Ellington,” which is point ■ Dept. 299A 2000 S. Michigan, Chicago 16 lion, surely must be the best-ap and blue □ Dance Bind Arranging □ Piano edly accurate. What Ellington did ■ Marching Band Arranging pointed pub in beatdom. dated loi □ □ Guitar for I his picture was to knock out, a □ History, Analysis of Music □ Violin For all the stupid, inane dialog After HARMONY Clarinet at Hollywood’s Chateau Marmont, □ □ New Ao ■ □ Trumpet □ Saxophone a series ol musical interludes to be tripe that screen playwrights Rich □ Advanced Composition ard Matheson and Lewis Meltzer ask Johnson ■ «nd 10 other Courses Send for Cate log grafted onto the film, sometimes us to believe is beatnik slang, and New 51n — Name. Ag< where it seems rather inappropriate, usual tael Street and to belt the audience with that for all the incredibly bad direction ■ City__ .State. by Charles Haas, the film has one Allen a i good ol jazz. p Music Experience _ genuinely funny sequence. not ofh< i On the whole, the undertaking is Mamie Van Doren depicts a di Johnson unsuccessful in terms of motion pic cited sev FUTURE ARTISTS OF AMERICA ture music. That the various pieces vorced tramp who falls into the rap ist s net. Playing her ex hubby is s similai n —or interludes—are well played al ••LEWIE” REED, trumpeter named Ray Anthony. Tht Shake Walkerton, Indiana, most goes without saying. That they says * WESTLAKE s scene they play together with carp caves ed second to none in are superficial for the most part must the nation A faculty also be noted. ing realism is so funny—uninten of great musicians tionally, ol course—that it is almos: his assis, whi. know the mod ern idiom and how Apparently, Preminger was seek worth seeing again. Maher, orti.ig to dt- and hi' Band . . . . Guitar Accompanist of oui beats, RED NEWMARK Thi well-known jazz pianist, . with TV-Nite Club Star ig in the piC. Henri Renaud, who was expected at ts illogicality, the N< wport Jazz Festival but anived ROBERTA SHERWOOD foi his name too late from Paris, was heard at a Uy be stated, one-nighter at Birdland with Phillv se for him joe Jones, Bobby Jaspar and Earl screen, sing May. He also played at The Com lothing ditty poser opposite George Wallington s Vahei Kent) (io . The New York to Europe i titles. Louis tick <>l American jazz musicians this n twice later fall is increasing. Besides Duke El t rum peter is lington and Kid Ory (see Down Beat • two lines ot ad lib Aug. 20), Benny Goodman an, who plays goes t<* Paris for concerts in October immediately after his Basin Street h a beatnik East session in New York. The Mod e until he is ern Jazz Quartet opens its second nective Coch British tout at the Royal Festival Los Angeles Hall in London on November 22. ocale of Ven Buck Clayton with Buddy Tate, n. Here the Dick* Wells, Emmett Berry, and Sir plushest pad Charles Thompson in tow is going lore, engages to Scandinavia, as are also Dave Bru ’hip' conver- beck and Dizzy Gillespie. The Clara id prowls the Ward Singers, aftei very successful n is Someday been signed to return in January, he plays and I960. Next year’s tour will also in allet of lieal clude Israel, Turkey, and Italy. An the hangout I other gospel troup, along with folk Golden Seal- singers Sonny Terry, Jesse Fuller, the best-ap- and bines man Muddy Waters, are dated lor an English tout. inane dialog After making a show of issuing vrights Rich- New York cabaret cards to J. |. is Meltzer ask Johnson anil Bill Rubenstein, the ik slang, and New York police reverted to their . . . that’s CAMCOV bad direction usual lai ties and denied singer David floating-action drum film has one Vilen a card. Although his case was pedal! Balanced for ice. not officially included in the recent fast, easy action —ad- depicts a di Johnson Rubenstein action, it was LISTEN FOR THE ACCENT BEAT AT ITS BEST justable for completely in to the rap cited several times as being of a X controlled power! ■x-hubby is a similar nature . . . oz. of chrome-plated Anthony. Tht Shake up at Metronome magazine aluminum that folds er with carp ¡eases editor Rill Goss pretty much H into one easy-to-paek my—uninten on his own Bob Perongo has left picee. It's ilie fastest t it is almos: lus assistant editorship and Jack pedal made! See it al Maher, although continuing his col * your CAMCO dealer (M-G-M) ha umn. is devoting full time to help or urite C A M Ct ) g music per ing Dorothy Ross on her several jazz I )rum Accessories ( a>.. »les. 1 he act public relations accounts, which in icture come* clude the new Arpeggio and the Vil CAMCO nee of a dis lage A anguard. Is in the rok When George Shearing’s big band debuted (lor the second time—the first was at Newport) at the Basin id done, Jn Streit East on Aug 27. the chib i are perfect of jazz music which is catching on with celebri ties mil a steady clientele) returned an pictures- THE NAME TO REMEMBER iws. tn a lull time schedule. Ralph Wal lins is also giving extra attention n accepting to the food department at the place; h him probi a new chef, Guido, is on deck. >ve of money lhe Riviera Lounge in the Vil- noreover, in l;’g< i> featuring Al Bandini's Dixie that does not land band . . . Herbie Nichols, Blue on him as an Note jazz pianist and organist, is at tcuniarv • the Page 3 on Seventh Avenue across WQXR THE INCOMPARABLE DEVOTED from Nick’s . . . Latter has Pee Wee 9 to 1<> p Erwin’s band with Kenny Davem, JOHN MEHEGAN versai' I j EXCLUSIVELY clarinet; Harn Davito, trombone; playing brilliantly once again program Johnny Varro, piano; Charlie Trae- His new album the histo * to MODERN ger, bass; and Buzzy Drootin, drums "Casual Affair" on a new MUSIC . . . When trombonist Turk Murphy (40 min of Modern Sounds) Jazz: with Kenny Dorham Lippinco introduced his charming singer, Pat trumpet Yankee, lo Ethel Merman on open Chuck Wayne 2 ’ ing night at the Village Vanguard, guitar Ernie Furtado Apollo T In i • Jazz Workshop he told Gypsy’s mother, “She’s a n Ei i bass Pliilloirn belter like you.’’ Miss Merman re Haw already void & 543 albums in 4 weeks of ihe sale Arpeggio - Big Band fused, to pose for pictures with Pat Buy at your local record store, or VIC I'll ORDER DIRECT POST PAID with and Combo . Jeff Atterton, British jazz writer your $2.98 — Anywhere in the U S big bam visiting the U.S.A, for several trio nnd § Ensembles T. J. RECORD CORPORATION Birdlaiid months, reports the sad news of the Box 37 Rockaway Park 94. New York BI \KE1 Broadway Arranging & ilea th of Reginald Forsythe in Eng gem: H land . . . Central 1' Composition SMITH Rex Stewart, preparing to take a Saturday Condon's Degree quartet to the Embers, was disap AM ' ER GENE ' Course pointed with the failure of his pro CORM 1' jected jazz junket to Europe. They Cupaeubaii GRANT Diploma didn’t get enough clients signed up Den (Hote to make it worthwhile . . . Les Davis, JACK J' Course Downstair starting on Aug. 22, added an extra trio, wit Embers -C Correspondence hour to his popular Jazz in Hi Fi 1OHNV FM-cast over WBAI. He is now on BOBBY Course Oct. 5. every Saturday from 1 to 5 p.m. with Five Spot. anil K the first two hours devoted to re detinitel; quests and the last two hours filled Hie kori I first Semester Classes begin BERMI with the latest in progressive re Living Hi January • May • September corded jazz. Metropole New Berklee records, scores and KLI'KII Babs’ Gonzales Insane Asylum, DIZZY < publications now available. over Branker’s Bar in Harlem, lasted — Write for information — indefinit only a couple of weeks . . . Down PIivIioiim- group, i stairs in Brankers you will find Louis Roseland Armstrong’s brother-in-law, Charles band, in Sept. 8 < Phipps, singing ballads. Phipps is WOULD YOU PAY $1.50 Kyan's—M fully recovered from the serious auto • To be able to write all your own arrange* detinitel; ments without even using a piono. Showplaci BILL PAGE accident he had at the time he was • To know the 4-part harmony of every chord of music for all Eb, Bb, & C instruments at th« working at the Baby Grand on 125th same time. Village Gi Street . . . • For a complete course on arranging. Village V plays a • To be able to instantly transpose any song to Sept. 21 Duke Ellington and Cab Callo any other key. way made stops on the Borscht cir THE LIGHTNING ARRANGER Is the only musical device in the world that Will cuit late in the summer. Duke gave DO ALL THISI Terrific for Musicians, Songwriters, The ? This popular Lawrence Welk bandsman an evening concert at Kutsher’s Arrangers, Singers, Teachers and Beginners. Small is one of today's most talented reed in enough to carry in your pocket. Ivan Li Country Club in Monticello, N. Y., Inquire at your local Music Dealer strument artists ... and from bassoon or send remittance to: lured ja to oiccolo,his favorite is Conn. while Cab was a featured single at LIGHTNING ARRANGER CO. Plateau For more Information about Goldman's and other resorts . . . 2929 Chew St., Allentown, Pa- group n Conn clarinets or any of Those who remember the great Money refunded if not satisfied. tne Conns that Bill plays in Prestboard $1.50 Lifetime Plastic $3 00 Bob Rui his Dot album "Page 14," nights of jazz back during the 1940’s on drun see your local Conn dealer at Cafe Society Downtown might be or write. tai, Ch< interested to know the Sheridan CONN CORPORATION and Dot Dept. J 33Q9 Elkhart, Indiana Square spot is being turned into a DANCE ORCHESTRATIONS The La new off-Broadway playhouse . . . there are vague rumors (no confir COMBO ORKS • Musical Supplies leader’s mation forthcoming) that Louis Yolan For Free Catalog Write to: radio ar BUY THE REED WITH THE GROOVES Armstrong will have a coast-to-coast Sunday night netwoik TV show this going a fall. There will be a rerun of the TERMINAL another New Orleans Iain Session With MUSICAL SUPPLY, Inc. French Rhythm Satchmo, half-hour presentation for Dept DB 113 W 48 St New York 36 N Y TV, on ABC’s You Asked For It on her fine uniform grading Sept. 13. program shows i easier response Dukes of Dixieland drummer Red JAKE TRUSSELL’S "After Hours Poetrj" Hawley wants to settle down in Flor Canada better intonation iazz nightlife ind after hours Chirac ten trod Showcas ida and is leaving the band. The Mexico to New York City Written by a jizz diu longer lasting I Assunto brothers are trying to get jockey and former hand leader Your jazz literature Buck L< collection is incomplete without it The I made IN PARIS OF £ Dave Black, currently with Bob Send $1.00 to JAKE TRUSSELl FINEST FRENCH CANE & Scobev . . . John S. Wilson’s weekly Box 951 Kingsville, Texu on hestr program The World of Jazz, on Price includes mailing. Rose in DOWN beat WQXR every Monday night from CHICAGO album.” Quips aside, the exhibit of BLE 9 to lo p.m. celebrated its fifth anni- The Gold Dust Twins, Marx and Frigo's chalk paintings was a good AN versan last month with a special Frigo, have been busy lately. Violin one, and among the interested shop ! again program based on the highlights of ist - bassist - trumpeter - composer - pers was Oscar Peterson . . . the history of jazz. John is also busy lyricist-jingle writer John Frigo was Meantime, pianist Dick Marx, on a new edition of The Collector’s one of the sights on Rush St. re with whom Frigo works at Mister lunds) Jazz'. Modern to be published by cently as he took part in the Gold Kelly’s, was in New York recording im Lippincott . . . Coast art lair which annually turns music he had written lor some Kel »et the Near North Side into an approx logg commercials with Cyril Ritch- IN PERSON imation of the Left Bank. John had ard, using on the date Clift Lee Anollo Theater—EARTHA KITT, until Sept. 11. ELLA FITZGERALD and Jazz at the his paintings hung on a wire strung man, Bernie Leighton and Bobby Philharmonic. Sept. Il ls. between two lamp posts and propped Rosengarten. Like General MacAr wks of the sale Arpeggio— BARARA CARROLL trio and .tore, or VIC DICKENSON, indefinitely. on a couple of barrels on the side thur, he has returned . . . ID with Banin Street East — GEORGE SHEARING walk, along with some copies of one Peter Palmer, on the heels of his the U S. big band until Sept. 10. AHMAD JAMAL trio and HERBIE MANN, Sept. 10 14. of his record albums. Did he sell A Swingin’ Love Affair LP lor Mer RATION Birdland Bl'DDY RICH quintet and ART New York BLAKEY'S Jazz Messenger» to Sept. 17. anything? “Yeh—two barrels and an cury (a second is in the can) will Broadway Cocktail Lounge (Hotel Astor)— GENE RODGERS trio opens Sept. 10. Central Plaza — WILLIE (THE LION) SMITH and Friends, every Friday and Saturday. Condon's—CONDON, HERB HALL, ALEX ANDER. LEONARD GASKIN (Bass) and GENE SCHROEDER are regulars. BOB CORWIN Is intermission pianist. Copacabana — MORT SAHL and EARL 22 TOP LP S TO BE GRANT, until Sept. 20. Don (Hotel Duane)—JERI SOI’THERN and JACK DOl'GLAS, indefinitely. Downstairs at the I'pstairs—ROSE MVRPHY trio with SLAM STEWART Indefinitely GIVEN FREE Ember» Ct WILLIAMS quartet anti JOHNNY COSTA trio, until BOBBY HACKETT quartet, 14 For Telling Our Editors Oct. 5. Five Spot Cafe- -KENNY' BFRRELL quartet and RANDY WESTON'S quartet, in- Which Features Are Most Interesting To You, deli nltely. Hickory House BILLY TAYLOR trio and BERNIE N1EROW, indefinitely. Living Room—SYLVIA SYMS, Indefinitely. 1st Prize 6 LP’s 2nd Prize 4 LP’s Metropole Cafe (Downstairs)—HAWKINS. ELDRIDGE, BAILEY. Upstairs) — 3rd Prize 2 LP’s Next 10 winners 1 LP each indefinitely. Playhouse — JEROME RICHARDSONS You can win from 1 to 6 of the latest LPs by filling in the coupon below, group. imletinKely. telling Down Beat which stories and features you liked most. That’s all there Roseland Dame City —PAIL BARTELL band, until Sept. 7. Bl'DDY BAIR band, is to it. Y $1.50 Ryan'a—WILBl'R DE PARIS band. Here's how you go about it: Mark the numeral 1 beside the feature you r own errang«- deti nltely. piano. Showplace (Village )—LENNY liked best, 2 beside your second choice, 3 beside the next, and so on, until F every chord of quintet with LEE KONITZ. you have filled in all the spaces. itruments at the Toast—CRYSTAL JOY' opens S< •pt. 7. Village Gate—Monday Night Jazz Concerta. When all the results are tn, we will take a statistical average to find the anging, Village Vanguard—CHRIS CONNOR, until oso any song to favorite features of ALL the readers. The entry that comes closest to this ANGER overall average will be the winner. Ties will be judged by the entry with the world that Will MONTREAL earliest postmark. All entries must be postmarked not later than Sept. 18. Win ns, Songwriters, beginners. Small The Alfred Wade sextet and the ners will be announced in a forthcoming issue. c Dealer Yvan Landry quartet were the fea tured jazz groups at the August 9 ...... MAIL THIS COUPON FOR YOUR ENTRY GER CO. Plateau hall concert. The Wade DOWN BEAT MAGAZINE >wn, Pa. group ini hided the leader on piano, tisfied. 205 West Monroe Street, Chicago 6, Illinois e Plastic $3.00 Bob Rudd on bass, Charlie Duncan on drums, Nelson Symonds on gui Gentlemen: tar, Chet Christopher on alto sax, Here is my preference of the articles listed below: and Doug Richardson on tenor sax. ¡ATIONS The Landry group highlighted the Feature Page Your Rating Feature Page Your Rating h Supplies leader’s vibes . . . Stereo Shopping 24 ______Record Reviews 27 Yolande Lisi is getting so much Lamberts, Hendricks, Chords & Discords 6 |Vrite to: radio and TV work these days she’s Ross Story 16 Strictly Ad Lib 8 going around in circles. She made Blindfold Test 35 Out of My Head 26 (AI. another guest appearance on the \ Inc. French CBC-TV network series, Julius Watkins Story 15 The First Chorus 4 Rhythmes late in August, a result of Festival Reports 13 New Sound System 11 York 36. N f her fine showing on the July 18 program. Next, she was given two shows in the CBC-Radio Trans •------1 buy Down Beat on the newsstand ______I am a subscriber L131 >urs Poetry" Canada network series, Performer’s characters fro» Name- i by a jazz di« Showcase and appeared with the >ur jazz literature Buck Lacombe trio Sept. 4 and 7 . . . Address- USSELL I he Ink Spots and Frank Costi’s Kingsville, Texas orchestra were at the Chateau Ste. City- -Zone------State »8- Rose in August . . . September 17, 195? • 47 take his voices-and-orchestra into the MUSICIANS Embassy ballroom in November, Seven'’ ; anil follow up with a string ol col Classified Ads will par I FREE CHORD CHART Fot All Imtrument« lege dates . . . • Send For Yowa Today! * 30c PER WORD—MINIMUM CHARGE S4 50 FOR AU INSTRUMENTS DEADLINE: 20 days prior to Aragon—FLORIAN ZABACH, until Sept. 20 “on sale" date of issue. Cloist r Bambu—BILLY FORD and her Thunder Remittance must accompany copy 506—STUART MUSICAL SLIDERULE Four sepa birds, indefinitely. IHAIIA Count Name, Address, City and State rite slide rule* give ail chords trinsp Blue Note—LES BROWN band. Sept. 2-7. thr<'- w sition ano scales at a glance. Also 14 Box Number Service, 50c Extra Crew udo choice: of harmonizing any melody note COUNT BASIE and JOE WILLIAMS. Complete...... 75 Holl.' woo. Cloister—DELLA REESE and RAS HAST ARRANGEMENTS mgs. < until Sept 7; GENE BAYLOS ami 523—SELF INSTRUCTION IN HARMONY $1 50 NEWEST THING for Coinbus, 4 to 7 Any 499 -HOW TO CREATE TOUR OWN JAZZ nsy street Mil KEY ONATE and DAVEY’ combination Bb and Eb instrument , jiiu» CHORUSES...... $1.50 rhythm Written by Dedrick, LaPuit.i, etc. 52—HOW TO HARMONIZE MELODIES $1.00 GREEN except Sundays: I'HFCK MINO- Only $1.25 each. Free list. Kendor Mu.-c Inc., 04—MODERN CHORD SUBSTITUTIONS .50" GI'E\ trio Sundays. Indefinitely. East Aurora, N. Y.______Jaterlude- 959-SIGHT READING TECHNIQUE .50 andon House—DON SHIRLEY’ trio, until MODERN JAZZ COMPOMD or auy giuup U ge Keynoter 57—HOW TO »H MOR I ZE MUSIC 50 Sept. C: BARBARA CARROLL Sept 8 or small) transposing, copying, orchesnating 16—HOW TU PLAY MODERN JAZ? $1 50 thru Sept. 27. KEl> K George Rugers, 4474 S. Uakcnwald Ave., Chi King» 8 365—AD LIB AZZ PHRASES 1728 modern Mister Kellvs—PEGGY KING: KEN and cago 15, 111.______two measure jazz phrases to fit all MITZI WELCH. Aug 31 to Sept 20. Light hour chords '$1 00 SMALL BANDSII Smooth, danceable, full suundm* 902—PROGRESSIVE JAZZ PASSAGES 5C Preview—Ray BAUDUC and NAPPY LA arrangements voiced ioi the following: Ti Limpet, Kl MSE 371—MODERN BLUES STYLES .75 MARE, until Sept 13. Alto, Tenei plus rhythm; Trumpet, Tenor, Limelight 372—NEW STYLE AD-LIB SOLOS I$1 ?5 Ruy Colomb a Jazzville—VIC PERRY Sept. Lromboue plus rhythm, Tiumpet, Alto, Tenor, 47—IMPROVISING i"» HOT PLAYING 1-13. Trombone plus rhythm. Also MEDLEYS foi Moulin I- 4 sin, trumpet, rhythm Arranging Sei vice 24 Hundreds of improvisation patterns shown Rid Arrow Jazz Club—FRANZ JACKSON Renaleaau on all chords...... $1.00 and hie Original Jar-» All-Stars. Fridays I ncoln Ave Pittsford, New York__ 58—BASS IMPROVISING BV CHORDS ... .50 and Saturila.'». STOMPERS DAVE PELL OCTET Modern Sound Arrangements 498—PLAYING BY CHORDS . .. .50 w »li LIL ARMSTRONG, Sundays, indefi For Eight Pieces or less. By Shorty Kogers Statli r II 501—LESSONS IN AD-LIB PLAYING $1 00 nitely. and Marty Paich 15 Available P>11 Mell definite! 99?—HOW TO TRANSPOSE AT SIGHT $1.5C Sutherlairl Lounge — LOU DONALDSON. Music, 6229 Wilkinson Avenue, North Holly Swing r 524—ENCYCIOPEDIA OF CHORDS $1.50 Sept. 3 for 2 weeks. wood, Calif.______definite! TROMBONE JAZZ Solos, Duets, Quartets, and Trombone Choir arrangements Johnny Mur- FOR PIANO LOS ANGELES ;>hy, Box 25, Wantagh, New Y’ork. 528—SELF INSTRUCTION IN POPULAR PIANO X ew-Vistas-For-Arrangers Dept, DAVE PELL STYLED ARRANGEMENTS for ti limpet, The I Complete Be°inners Course $1.50 trombone, tenor, bary-alto, rhythm. B Eber runs thi 910—1.501 CHORD PROGRESSIONS. All the (or, Where Do We Go From hart. Box 323, East Lansing, Michigan. chords used in populir music 2, is spi 940—NEW CHORDS FOR STANDARD HITS Here?) : Shorty Rogers is cleffing the FOR SALE Exciting different harmonizations $1 00 USED WHITE ORCHESTRA COATS SINGLE BREASTEC competi 376—MODERN CHORD PROGRESSIONS FOR underscore for Al Zimbalist’s M-G-M PIANO $5 TUXEDO TROUSERS $CHET BAKER HOWARD RUMSEY S lor the Hollywood Bowl Sept. 12. Lighthouse All-Stars SEND Send today for your FREE catalog! THE LIGHTHOUSE GORDON MUSIC COMPANY Louis Armstrong, the Firehouse Five Hermosa Beach 408 N. Rodeo Dr Bese'*v Hills, Calif. Phi» 2, “Pete Kelly’s television Big Tap Modern Jazz Names In Concert 48 DOWN BEAT Booker T. Washington Hotel MERLE Seven and Teddy Buckner’s band the Lenox School oi Jazz during its SAVNDEKS trio, indefinitely. Ads will participate . . . first two years . . . After his Jazz Bop City-—After hours sessions, usually in cluding MONTY' WATERS, EDDIE KHAN. IN PERSON Workshop stint in August with FRANK HAYNES, OLE CALEMEYER MARGE $4 50 Beverl' Cavern—TEDDY BUCKNER band Benny Golson, bassist Leroy Vinne LEE WILLIAMS, and gm st artists. nos to Keeldent. Burp Hollow—BOB MIELKE Bearcats, in l'1(.ist' i—RUTH OLAY. SHECKY GREENE. gar played for a week with the Cellar detiniteiy. »ny copy (¡EKI GAL1AN orch., Aug 21 Sept 10; Jazz Quartet, which includes Henry Cabana—VIRGIL GONSALVES sextet, in D1AIIANN CARROLL, opens Sept 11 for definitely. and State three week stand. (Cowboy) Noyd . . Trumpeter Copy Cat, San Rafael—MONTY WATERS, le Extra Cresi udo—LOUIS ARMSTRONG All-Stars, Marty Marsala hospitalized for more weekends only, indetiniteiy. * IXIELAND JUBILEE, than a month, returned to work at The Cellar—“COXY BOY”, with BILI WIES- TS ... ARMSTRONG,FiRE- JAHN, MAX HARTSTEIN, CHUCK JIOI SE FIVE PLUS 2, Pete Kelly ’ BIG the Kewpie Doll in mid-August, THOMPSON, indefinitely. to 7 ima Anj SEVEN TEDDY BUCKNER band): El Dorado, Cupertino CHUCK TRAVIS Strumen i , plus some 30 pounds lighter and still suf quartet. Indefinitely. -, LaPoiti, etc. fering from an unidentified malady Fact's II—ERNESTINE ANDERSON opened inlor Mu.-c Inc., Interlude—MARTIN DENNY group, Sept. . . . Trumpeter R. C. H. Smith came Fairmont Hotel Venetian Room— WIEBE »y group (large Keynoter-(’LAI DE WILLIAMSON, piano; out of musical retirement to play BROTHERS, until Sept. IB; Tony Bennett ;, orciiesuaung RED KELLY bans, indefinitely. wald Are, Ch. King’ (Santa Monica) BETTY with Kid Ory’s band until its depar Martin, Oct. 22 BUY ANT trio, indetiniteiy. ture for Europe in early Semptem- Hangover—EAR L with e, full rounding Lighlhoime (Hermona Biechi — HOWARD SPANIER DARNELL HOW ARD. JIMMY .wing 1. unipet, RUMSEY’S Liglithoune All Stam Risiili it. ber . . . Tiki Bob’s and Mr. Smith’s ARI HEY POPS FOSTER. EARL WAT rumpet, Tesar, Limelight (Pacific Ocean Park) -LIME KINS and RALPH SI TTON, until Oct. et, Alto, Tenoi LIGHT Rhythm Kings, Indefinitely. closed their doors in August by re Moulin Rouge- LIONEL HAMPTON orch MEDLL iS fai quests of Internal Revenue agents, hungrv i—THE L1MELIGHTERS. MYRf- ging Service 24 ark KeiiaisHgnce—PU L HORN quintet, opened leaving, respectively, pianist Memrv LYN CHILDS. indefinitely. TOM LEHRER Aug. 21 JIMMY GIUFFRE 3. opens Sept. opened Ang. 17 d Arrangements Midgett and the Frank Haynes band Jazz Workshop—The MASTERSOl NDS. nn- Short v Kogers Statler Hilton—SKINNAY ENNIS orch., in- til Oct 4: CAN NON BALL AI ible. Pell Mell stranded . . . The Moulin Rouge, quintet. Oct. 6-25. e, North Holly- Swing < ill I)—JOYCE COLLINS trio, in a new chib, is using a show band Harrah's, Reno—GORDON McRAl definitely. that includes ex-Herman trumpeter ANNA MARIA ALBERGHETTI Quartets, and 2ft FRANKIE JA s. Johnny Mur- SAN FRANCISCO Johnny Coppola and ex Virgil Gon <■1 Y LOMBARDO. York. CI'GAT & YBBl TS for tiuni|)ct, 1 he Monterey Jazz Festival, which salves tenor man Danny Patiris . . . ythm. B. Eber runs three nights beginning October Buit Rales will appear with Lizzie RED SKELTON. Dec. 22 Jan. 3. Michigan. Kerosene Club. San Jost — EI. DORADO 2, is sponsoring a college jazz band Miles on opening night of the Mon JAZZ BAS'D. Thursdays and Saturdays competition, to be held at Monterey terey Jazz Festival again this year. only, indefinitely ¡INGLE BREASilt Kewpie Doll—MARTY MARSALA, featuring UNIFORMS M Peninsula College Sept. 27 and 28. IN PERSON VINCE CATTOLICA, indefinitely. ILL.______The winners will be invited to play Blackhawk—CAL TJADER with LONNIE Muir Bem II—GREAT PACIFIC Jazz Band. JS HEWITT. MONGO Sundays, indefinitely. at the festival itself . Virgil Gon- MeKIBBON. W1LI BOBO, through Pier 23—BURT BALES, indefinitely. INES, PARODIES, Sept. I); SHELLY MANNE Quintet. Sept. GES! FREE CATA salves, now at the Cabana, has been 15 Oct 1. OSCAR PETERSON trio Oct. The Tropics — BREW MOORE. Saturdays TIONS, 111 E featuring altoist Dale Hillary, the 0 1k: ANDRE PREVIN trio. Oct 20-Nov. and Sundays, indefinitely. 1; BARNEY KESSEL quartet, opens Nov. Zacks. Sausalito—DAVE VAN KR1EDT trio. Hold all songs, Canadian teen-ager who studied at 3. Friday through Sunday, indefinitely. rrect procedure. 333 West 56th irds made. Send THE GREATEST NAMES IN JAZZ WILL HELP YOU BE A MODERNIST! wn Music Com UNNII IRISfANO JAZZ LINES First examples MODERN PIZZICATO STRING BASS: DIRECT ap ROCK AND ROLL SKETCH-ORKS 12 Swinging eet, New York of his dazzling piano magic, an absolute must proach to Jazz lines for Blues, Progressions, Im Originals far small combos—all instruments All for oil pianists $2.00 provisation. Spend, etc Create c perfect Bat. In one big book only $1 SO RING AT HOMI eUD POWELL The amazing artistry of this great line. Complete course $3 00 MHT HINTON and OSCAR PETTIFORD Grea Jazz Ol WEHS St, Pianist All solos as recorded First time avail- SUPER SOUNDS SIMPLIFIED* Dr. Deutsch s system Lines for String Bass. Fresh new ¡doos for the oblo Vol. I A II $1 50 each of applying Hindemith, Schoenberg, and Schillinger modern boss men Vol. 1 4 Vol. 2 $1 50 each s Review” man- NEW DIRECTIONS IN JAZZ PIANO—Page after to modern Jazz $1 50 23 ORIGINALS BY GERRY MULLIGAN For small T York 19, 25c page of interesting harmonic innovations, new Combos exactly a, he recorded them. All in >no styles and techniques to give fresh, modern ideas JOHNNY SMITH'S AID TO TECHNIC—This great big book. PLAYABLE BY ANY COMBO $2 00 to the pianist.. Guitarist shows how to acquire aexterity, speed rree Cuts. Sam- $1.50 and complete control of th' fingerboard.. $1 50 27 ORIGINALS Bi JIMMY GIUFFRE For small Goul burn Ave., INNOVATIONS IN FUll CHORD TECHNIQUE— Combos as he recorded them. Designed for any This complete book illustrates how Brubeck, JOHNNY SMITH GUITAR INTERPRETATIONS small jroup. All in one big book Only $2 00 Shearing, Tristano use the full chord technique Take your pick, but you must know the modern 24 ORIGINALS BY PETE RUCOLO; Designed fol r ring protects -■parallel, block, whole tone, minor...... $1.50 guitar sounds This book shows you how Vols and playable by any combo. First time available. rie cymbals in I and II...... $1.50 each >ass rinini September 17. 1959 49 Music News from Coast to Coast 10 Years Ago 25 Years Ago On the Cover: Rig Sid Catlett George Olson opened big at the with Bill and Ruth Reinhardt of College Inn, featuring wife Ethel Shutta . . . Adrian Rollini left Olson man, Nat Cole, Mel Torme and before opening to join Benny Good- June Christy lash out at Tommy man Paul Pendarvis and hi Dorsey for putting down bop dur University of California Ass<>< iates ing an interview on Jimmy Lyon’s followed Eddy Duchin into the KNBC, San Francisco program . . . Urban Room ol the Congress Hotel, . . . Georgie Auld opens his Tin Pan Chicago with a new Casa Loma-siyled Alley Club, N. Y., with Barbara Car band . . . Gus Arnheim report just Here’s why roll on piano . . . Johnny Mandel set fair business at the Cocoanut (.rove, as Artie Shaw's new arranger . . . Louie Bellson Jackie Paris and Eddie Shu join the sign out nightly at the Marl Hop Hampton circus . . . Lawrence AA'elk's kins, San Francisco . . . Ben Bemii plays weekly ABC! radio show lor High finished a big summer season at the Life beer renewed for another 13 Hollywood Country (Hub, Galveston weeks . . . Les Paul trio and George . . . Kay Kayser stays on at the Mir Gretsch Brunis opened at the Blue Note, amar Club, Santa Monica . . . Anson Chicago । . . . Desi Arnaz auditioning Weeks set to open lall season at the Drums ralists during his Orpheum Skyline Room, Waldorf-Astoria. N. Ask a drum star how he judges date in Omaha . . . Pearl Y. . . . Carlos Molina will bring in drums and he’ll tell you “great and Hot I ips Page being a change of pace with his Latin sound.” That’s why, for years, Louie offered by Joe Glaser for one-niters rhythms when Buddy Rogers leaves has owned and played a Gretsch throughout the east. the Stevens Hotel, Chicago. outfit. You can hear his special art istry on Verve records (or on tour) (Continued from Page 24) choices and their costs: with his new big band. FM transmitter of the station and the Garrard RC-88, $54.50; Garrard stereo conversion kit. $4.95; Shure M7- What’s the answer to “that great other on the affiliated AM transmitter. D stereo cartridge, $24.95; Scott 299 Gretsch sound”? Look inside a This caused Reynolds to get an AM- stereo amplifier. $199; Scott 330-C FM- Gretsch drum shell. It’s a smooth FM stereo tuner, although he realized AM stereo tuner, $225, and Viking unmarred cylinder —the only abso it would be obsolete at a later date. Series 85 tapedeck. $143. ■ lute guarantee a drummer has of When the time comes, he will just add clean, distortion-free drum tone. an adapter, a four- or five-tube device costing about $50. to the FM part of No extra reinforcing rings (which his tuner. Fo match his Scott 299 amp actually distort drum tone) are lifier, he bought a Scott 330-C FM-AM deebee's scrapbook #20 needed inside a Gretsch shell. Shell stereo tuner. strength and perfect roundness (for He got a Viking tape deck to play the life of the drum) are guaran stereo tapes. This compact unit plays teed through the use of six lamin tapes back at either the standard stereo ated plys, joined at six different tape speed of 7'/2 inches a second or at spots. And, only Gretsch assures the slower speed of 3% a second. this in writing. Gretsch shells are The Viking has a setup permitting weather-proof lacquered inside to extra recording/playback heads to he insure clean, sharp sound under easily screwed into place next to the adverse weather conditions. regular heads supplied for special set You get “that great Gretsch ups, such as the monitoring of record sound” on rim shots, too. Gretsch’s ings or making sound-on-sound record exclusive die-cast hoop gives you ings (recording sounds on top of perfect rim shot sound - protects already recorded sound as is done in sticks. Fully molded, handsomely Les Paul’s multiple recordings). designed, Gretsch hoops are out The Viking tape deck doesn’t need standing for their modern styling electronics because it plugs directly into as well as heavy-duty strength. the tapehead input of the Scott ampli- Check the facts. Play and examine a Reynolds’ Viking has regular half Gretsch set at your dealer’s. He won’t track heads for playing today’s standard mind — he likes good drum sound stereo tapes. He can install quarter-track too! Got your Gretsch drum catalog? heads in an hour or so when the new You cai Get one free from Dept. DB-90. quarter-track tapes become plentiful. He Are you sure Machito also is considering getting Viking elec 60 Broi 0: Garrard . Shure M7- ; Scott 299 330-C FM- and V iking For S".>-10” autographed print of thi» picture, »end 10* in coir to Gretech, Dept. LB to cover handling and mailing. Louie Bellson plays Gretsch Drums achito Yru can too. Try an outfit like Louie’s or specify your own set at your dealer’s. Write Gretsch, 6 Broadway, Brooklyn 11, N.Y. for thirty-two page Diamond Jubilee drum catalog. Dept. DB-QO D SHERMAN Louie’» »pedal outfit, finithed in Jet Black Nitron, contain»: two SS”xH" ba»» drum»; two lS”x»" tomtom»; It" ¿18“ tomtom; H"xtW »nart drum, pint excluaivt Grettch Ditappeadng Drum Spurt, which Louie dtdgntd. MAX ROACH ARMANO nUMIAS 8A®Rni DEEMS Foremost percussionist: INSIST on AVEDIS ZILDJIAN CYFiBA^S (THE ONLY CYMBALS MADE ANYWHERE IN THE WORLD BY Z \RT AVfDlS ZILDJIAN ZIIOMM chas SMirk and harol^^omp^^ Boston Sympf MOUSlE ALEXANOI AVEDIS Ù^RRIS flKI GENUINE V? own? fend MAM IN U.S.A. ABRAHAM MARCUi> llt«n Opera AVEDIS ZILDJIAN look for this trademark' It CHICO is your protection against HAMILTON inferior imitations The candid shots were taken at the Avedis Zildjian Smart buying of cymbals is simple Avedis Zild¡ion factory in North Quincy, Mass., U.S A (The only cymbals are sold by leading music dealers every Zildjian factory in the world ) Pictured are some of where Just look for the Avedis Zildjian trade the discriminating musicians who INSIST on Avedis mark-the trademark that is your ONLY assur Zildjian Cymbals. I hey travel from every corner ance of cymbals MADE BY ZILDJIANS. Ask your of the globe for a friendly visit with the Zildjians. dealer to send us your cymbal problems. If you haven't already sent for your free copy of "CYMBAL SET UPS OF FAMOUS DRUMMERS"— write today1 AVEDIS ZILDJIAN COMPANY • 39 FAYETTE STREET • NORTH QUINCY, MASS , U S A Established 1623, Turkey Transferred to America. 1929 Agents in principal cities throughout the WORLD