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^BIGGESTuAow SMACK CORP..- o 22 - 12"¢ ..... mw a . - - jAZZ SAL ENi LP !H~l Page 4 I m = ..- §SALE! CHAMBER * TRANSITION ,R m ." -.-- ," -" mW,- -111.1-11, mMUSIC S EIY! * JAZZTONE I * VERVE, Paie ' II "sa:M.¢ i _~~~~~~~ I i STORYVILLE 13 I 1 Schedul II With the first flak BACH, VERDI Rey. gr Famous Chamber Music So- week, there was a fl 2-12" LP Albns ciety mail-rder 12" hi-fi UPs activity at MIT as CHORAL WORKS on PURE TRANSPARENT STOr/ILLE SrIP-.902: SIDNEY RUBY VINYL (the mast ex- ET Jazz at Storyville. 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The men move covered jackets. is found in the tunes in this album Lulu's Back in Town, Sweet Gee -standards, such as New Orleans, STORYVILLILE STP-J14: ZOOT SIMS Brown, Sugar, Sweet and Low Liot, fLI r C"M: BRANNS Violin Sonata No. If I Had You, Little GirdBlue, The QaUINTETFFeatures Sims (tenor sax), seven other swinging sides. 1, Cello Sonata No. 1; Lodis Kauf- Girl Friend,_ and six others played Bobby Brotiokmeyer (valve trombone), STORYVILLE STLP-910: INTRODus man, violin; Janes Starker, the with a comfortable sense of well- Hank Jones!5 (piano), Bill Crow Aoass) K ern/ m"':dmmcdoms '' world-famaus cellist. MILLI VERNON a great lady of! being. and Jo Joroes (drums). The quintet- Sings with a mood subdued an: CM-21: STRAVINSKY Duo Concertant JAZZTONE J-1222: JACK TEAGARDEN gives withn the sounds supreme on tensely moving. 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  • JREV3.8FULL.Pdf

    JREV3.8FULL.Pdf

    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.