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1 1 1 Fle 1 1 1 May-June 1955 33 B. G. in Hi -Fi 1 Somewhere in November of '54, Benny Goodman got together agroup of Benny Goodman and His 1 executives who remembered how swing. used to go. The album they made Orchestra 1 doesn't quite come up to some of the records Benny cut in '36 or '38 or Capitol W 565 12" '42 — you take your year. But it does prove that a group of splendid sidemen van get together under a leader who is without a peer, and pour out music that swings, that excites, that sounds like it was right. and entertainment all at the sanie time. Wonderful! Fle Jazz Potpourri 1 There are four magnificent pieces by Red Nichols and his band, and on Red Nichols, Rosy McHargue. 2 three of them old Joe Rushton blows up astorm. The McHargue, Halen, Carl Halen, Earl Foutz, and 1 and Foutz opera are acceptable, while the lovely skiffle ride on Tight Like Skittle Session This is terrific. It's zany, knocked-out stuff, with enormous rhythm, and Audiophile 24 12" humor that is both happy and honest. It was recorded by Nunn in Dayton at the end of a regular recording session, and there's everything in it in- cluding a battered, 01(1 tin can. FR The Hawk in Flight S Tenor saxophonist Coleman Hawkins has been a big star ever since 1925 Coleman Hawkins 2 and Clarence Williams' Blue Five. This collection features later day RCA Victor LJM-1017 12" Hawkins. from 1939, when he was very much atraditional jazz great, on through '46 and '47 when he became vastly progressive. The "Hawk" seems mom at home in the traditional spirit., and those playing with him then were more musician than the later day crowd of high-blowing experi- menters. The traditional bands are best. FR Brubeck Time 2 This has the distinction of being both the I est and the midmost of all pre- The Dave Brubeck Quartet 3 vious Brubeck albums. Best for the sound. Nlidmost, for the playing. There Columbia CL 622 12" I is something about a live performance that stimulates Brubeek's group. W:dled in a studio, the sparks seem to be all in the equipment. The guys pl:ty together wonderfully well, but that. enormous fire of creativeness that has become so integral apart of Brubeek's music is somehow lacking. "Jazz Goes to College" is still Brubeek's best LP. FR The Kenton Era 3 The Stan Kenton story in words and music, from Artistry in Rhythm, cut. Stan Kenton and His Orchestra in Balboa in 1941, to Zoot, which was taped from aconcert at the Alham- Capitol WDX-569 4-12" bra, Paris, in 1953. It's areal mess of notes, proving that Kenton is arest- less creator who, from a swinging beginning, has progressed towards a frustrated, enthusiastic diffusion. The album's value — entertainment is negligible — is the complete picture it gives of one of jazz's most hnpor- tant and outspoken figures. FR The California Ramblers 2 The personnel of this band of the Roarin' 20's included the Dorseys, Red Tommy and Jimmy Dorsey 2 Nichols, Arnold Brilhardt, Adrian Rollini, Stan King, and Bobby Davis, Riverside RLP 1051 10" R and was under the leadership of Ed Kirkeby. The songs they played were Sidewalk Blaes, Clementine, Stockholm Stomp, Third Rail, When Erastes Plays His Old Kazoo, and Cheatin' On 31e. The Ramblers were more of a jazz band than adance band, and the music they produced stands the test of time well. An interesting LP of early big band jazz. FR I Buddy DeFranco and Oscar 1 It speaks highly of Buddy DeFranco, the musician and the man, that after Peterson Play George 1 hearing Oscar Peterson play and getting to know him, he insisted the Gershwin 1 pianist be included in this album. And what an album it is! Wonderful Orchestra under Russ Garcia Gershwin songs, including Strike Up The Band, IGot Rhythm, and Porgy; Norgran MON 1016 12" adept conducting by Russ Garcia; and superb sound that does justice to the classic clarinet and piano of DeFranco and Peterson. You'll treasure this album. Hard to find it this good these days. RP Lullabies in Rhythm 2 Once again April showers bring us an enchanting May flower named Bar- Barbara Carroll 2 bara Carroll. Her second 12-inch LP for RCA Victor is nearly as superior RCA Victor LJM-1023 12" 2 as the first, released about this same time last year. It would be on apar, save that someone let her sing acouple of tunes — ILove aPiano and By Myself — and she has a voice like the March Hare. These are unpardon- able interruptions in an otherwise continuous recording of cascading chords, deft interpretations, and delightful tunes. F1? Swing Session: 1935 2 Skip anone and concentrate on Berigan. In 1935 the eminent arranger for Bunny Berigan with Gene 1-3 the Casa Loma orchestra, Gene Gifford, organized an 8-piece band to make Gifford's Orchestra some swing sessions for Victor. Among those he hired were Bud Freeman, Wingy Manone with Adrian and Mat tv Matlock, Ray Bauduc, Claude Thornhill, and the immortal trum- his Tap Room Gang pet er, Bunny Berigan. Give Gifford the credit for the arrangements; give "X" LVA-3034 10" Berigan the accolade for blowing forth so wonderfully that he and his mates made four numbers that. are swing classics. FR etima At Wet ,e,• Blowout at Mardi Gras 3 The paee 10 LIS on like the Sante Fe Chief charging through Popedoout ,ff,'.:•• =: • Sid Davilla and Freddie Kohl- 3 Kansas. Kohlman and his boys were playing hi° much for the entertain- e man's band 8 ment of the crowd the night Cook recorded them. After hours of New Or- Cook 1084 12" leans bottled delight, who really cares how good the jazz is as long as it is fast and loud. Well, sir, this jazz is fast and loud. Davilla has one clarinet " passage that was taken practically in for note from Artie Shaw's Con- certo for Clarinet. FR ..„ May-june 1955 33 .
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