the Virginia Boys and Mac Wiseman Driver Blues," a John Henry-tinged former's slyly incisive composition "Ye and His Country Boys. The former's offering. Playboys and Playgirls." Tom Paxton instrumental "Dill Pickle Rag," a rag­ The real surprise here is one Sam and Phil Ochs, who, along with Dylan, time-mandolin breakdown, and the sym­ Hinton, a familiar figure on the West are the most prominent heirs-apparent metrical harmonizing on "She Left Me Coast, in his maiden voyage before an to the creative crown of Woody Guthrie, Standing on the Mountain" excel, while Eastern audience. Hinton's brilliant each performs two of his originals. Their Wiseman, easily one of the best of all monologue of "The Arkansas Traveler," subjects vary from "The Willing Con­ bluegrass vocalists, sticks close to Bill a narrative delight concerning the "city- script" (Paxton) to "The Ballad of Med- Monroe-type material ("Footsteps in the slicker" and the "country bumpkin," is gar Evers" and the tragicomic "Talking Snow," "Love Letters in the Sand"). made doubly enjoyable by the artist Birmingham Jam" (Ochs). The Freedom An excellent country quartet led by playing the guitar while, at the same Singers again appear as does Joan Baez, Ashley (and including "Doc" Watson) time, blowing the mouth haip without Sam Hinton with a priceless interpreta­ renders "Lee Highway Blues" and three the aid of the usual holder or brace. tion of "Talking Atomic Blues," and Bob other strongly traditional songs. Not as His "accumulation" song "The Barnyard Davenport. Also featured are Peter La- polished or as slick as the bluegrass com­ Song" and "Must I Go Bound" are Farge, Ed McCurdy and Jim Garland, bines, they art not, on the other hand, equally compelling and communicative the latter a brother of the late Aunt as mechanical or as heavily stylized, endeavors. Molly Jackson and a leading figure in performing with a great deal of zest, Volume 2, another potpourri, features labor organizing activities in Kentucky feeling, and emotion. three interesting foreign artists. Jean in the 1930s. The New Lost City Ramblers, a re­ Redpath, from Scotland, does "The ADDENDA: Most all of the artists who nowned aggregation of "city-billies," Muckin' o' Geordie's Byre," in Doric, were recorded at the Festival are fea­ also appear. Composed of John Cohen, and "Song of the Seals," a Hebridean tured on recordings devoted solely to Tracy Schwarz, and Mike Seeger, they chant, both a capella. Bob Davenport, their several talents. Some of the more have done much to bring old-time music a baritone from Britain, is heard doing a important newer releases are "Old-Time to Northern audiences. They all play nu­ traditional mining song, "With My Pit Songs and Tunes From Clay County, merous instruments, have a wide range Boots On," also unaccompanied. The West Virginia," available through Folk and knowledge of source material, and third visitor is Jean Carignan, a French- Promotions, 1549 Lee Street, Charles­ are accomplished performers. Canadian fiddler from Quebec. He is ton, W. Va. ($5.30), which features a traditionally steeped, technically bril­ banjo and fiddle duets by Jenes Cottrell T-» H E outstanding musician in this set, liant instrumentalist, and his offerings and French Carpenter; Dock Boggs if not in the entire group of recordings, are breathtakingly electric. Other artists (Folkways FA 2351, $5.95), all new is Arthel "Doc" Watson, who is virtually include Judy Collins and Theodore recordings and not reissues; Jack Elliott unbelievable whether on the guitar, Bikel, Jackie Washington, Dave Van (Vanguard VRS-9151, $4.98; stereo five-string banjo, autoharp, mandolin, or Ronk (much more suitable doing Rev. VSD-79151, $5.95); Phil Ochs (Elektra mouth-harp. Aside from appearing with Gary Davis's "Candy Man"), Bessie EKL-269, $4.98; stereo EKS-7269, Clarence Ashley's group, he is high­ Jones and the Georgia Sea Island Sing­ $5.95) in an all-topical song program; lighted as a solo artist performing two ers, and Pete Seeger with a medley of "Doc" Watson (Vanguard VRS-9152, guitar numbers each employing a differ­ three five-string banjo instrumentals. $4.98; stereo VSD-79152, $5.95), an ent technique. "Tickling the Strings" Newport BroadsideiVRS-9144, $4.98; entire album by the standout performer ("Doc's Guitar") is done finger-picking stereo VSD-79144, $5.95) lends support of the festival; Judy Collins, Nb. 3 (Elek­ style. "Black Mountain Rag" is an old to the view that the topical folk song is tra EKL-243, $4.98; stereo EKS-7243, fiddle tune which Watson does in flat- currently enjoying a resolute, though $5.95), presents one of the best female pick style and exhibits a number of ex­ belated, resurrection. This recording singers in her finest performance; John tended, unbelievable runs that culminate presents much of what is the best of Hammond (Vanguard VRS-9153, $4.98; with the audible appreciation of the rapt several current essayists and delineates stereo VSD-79153, $5.95), the second group of listeners. The Morris Brothers, sundry themes well known to most. solo album by a fine talent. composers of the popular "Salty Dog Bob Dylan and Pete Seeger do the —LAWBENCE COHN. Blues," also appear on this recording, as does the Texas fiddler Benjamin "Tex" Logan. Evening Concerts, Volume 1 (VRS- 9148, $4.98; stereo VSD-79148, $5.95) Grove Street: Selling The News and Evening Concerts, Volume 2 (VRS- By Robert Hutchinson 9149, $4.98; stereo VSD-79149, $5.95) SIA was at war; the Nile was rising; are kaleidoscope vignettes featuring The white-faced girls liked older men. many of the more commercially popular A What was the news from the windy corner. folk artists. Volume 1 includes the Cana­ Late, and my coals of money in? dian duo of Ian and Sylvia, the Rooftop Singers recreating their extremely pros­ Greta Garbo came by and left a tear. perous "Walk Right In," Joan Baez, the Shirley Temple, and left a rose. Albany, Georgia, Freedom Singers with Your mother will want you one more year "Woke Up This Morning" and "We Unless it rains, unless it blows. — Shall Overcome," Bob Dylan doing his And night a torrent. Limb from limb "Blowin' in the Wind" a la Woody Guth­ It shook at the houses, seized the eyes. rie, and the peerless Jack Elliott, puz- zlingly shortchanged and slighted with The streets came grovelling to an end, an appearance on only one track ("Dia­ And still in the dark the sound that night mond Joe"). Mississippi John Hurt re­ Went extra, extra, extra dim. appears with four numbers, including The branch in my hand a fiery legend: ths bad-man ballad "Stagolee" and a KING OF THE NEWSBOYS OVTSHOVTS WIND rendition of his 1928 recording "Spike And at length, the plunging present. SR/.January 16, 1965 71 PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED RECORDINGS REPORTS: JAZZ LPs TITLE, PERSONNEL, DATA REPORT Louis Armstrong: In the '30s and the '40s, Armstrong's ability to rise above mediocie material and accompaniments has always been striking and Armstrong, trumpet and voca' with sextets, it is much in evidence here. Despite the presence of Budd and Keg Johnson and Teddy Wilson, his nonet and big band. RCA Victor LPM 2971, 1933 group left a great deal to be desired, as did the big band of 1947 heard on the second side. Yet $3.98; stereo, $4.98. all of the performances are illuminated by his personality and artistry. Moreover, his five choruses in a row on "Jack-Armstrong Blues" (it is Bobby Hackett in the first ensemble), like the three final choruses on "Where the Blues Were Born," are exceptional even by his standards. Art Blakey: Selections from Golden Boy. Songs from movies and Broadway shows at one time formed a sizable proportion of the jazz reper­ lilakey, drums; Lee Morgan, Freddie Hub­ toire, but in recent years, whether or not their quality has declined, they seem to have found less favor bard, trumpets; Curtis Fuller, trombone; in it. Each of these sets represents something of a marriage of convenience, the music in neither case Julius Watkins, French horn; James Spauld- being especially meritorious from a jazz viewpoint. The Adderley group, with its limited instrumenta­ ing, alto saxophone; Wayne Shorter, tenor tion, has the harder task, and the leader assumes a heavy thematic responsibility, though individual saxophone; Charlie Davis, baritone saxo­ honors go to his brother for neat, muted solos, and to Sam Jones and Louis Hayes for sterling work in phone; Cedar Walton, piano; Reggie Work­ the rhythm section. Blakey having wisely augmented the regular "Jazz Messengers," his album has man, bass; Bill Barber, tuba. Colpix 478, far more color and variety. The additional instruments also challenge the arranging skills of Wayne $3.98; stereo, $4.98. Shorter, Cedar Walton, and Curtis Fuller, who would doubtless welcome more such opportunities. Cannonball Adderley: Fiddler on the Roof. Some of the ensembles seem unnecessarily shrill, but there are many original touches and plenty of Adderley, alto saxophone; Nat Adderley, space for improvisation. Of the soloists, Shorter impresses at up tempo in a Coltrane vein and Lee trumpet and cornet; Charles Lloyd, tenor Morgan introduces some welcome lyricism. saxophone and flute; Joe Zawinul, piano; Sam Jones, bass; Louis Hayes, drums. Capi­ tol T2216, $3.98; stereo, $4.98. Ella Fitzgerald: Ella Sings Gershwin. Ella Reissued here are eight collaborations originally on a ten-inch LP. The tasteful piano accompaniments Fitzgerald, vocal; Ellis Larkins, piano. Decca contribute much to what are among the best examples of Miss Fitzgerald's art. Two titles have been 4451, $3.98; stereo $4.98.