1ll ndcrson is a good technici an wiU1 a ful.l Sun also has a positive quality, and Woes Pee f{e play s with blasting aggresiveness. is a take-off on Bye, Bye Blues changes :, Which ~!~ ;nelodic ideas here, un fortunately, are that romps. on wax Another surprise is Klemmer's warmth conversations 11orist j~ rntlier stale. . j\br eu, a post-bopper , solos 10 a fiery, and melodic grace on Love . He plays this 1g satire rd-swinging manner on both tenor and fine old standard with imagination but re­ a Won. 113 praoo. He doesn't demonstrate much spect, sustaining an appropriate mood continued: ~~iginality, 'but his solos have momentum. throughout. Ballad playing of this caliber 1orn, he A good meat-and-potatoes album. is not what you'd expect, either, but there lCh hiin. -P ekar it is. trumpet• 'ith en~• Ocean is double-timed after the first eight. The rhythm section is very good frighte~ Willis Jackson here; it is also in fine fettle on Woes. e WOOd. TBLL IT . . .-Prcsdgc 74'12: / Cm,' 1 S10/1 ,/nf Y ou: 0111:. Mini J11le/1; Ut, A 1..a:q Ri ver· Made up of veteran Chicago stalwarts, it ys corn. lA',,i,111' ,~J,/J Sy111J1/)(my Sia; 1·,111ge rine; Ebb gives Klemmer the kind of support he de­ Js. The lfft1•· D/11• Galer; Su rtl Lovt . serves . .1t quite p:r sonncl: F rank Rob insoo , trumpet; Jackson . tenor snxophon c; Carl · W/jl_son, org no; Pamelhing some of the rock-and-r oll Instrumentals Cadill«e of tile 50s. Ja ckson's band I emiads me of good advantage on Sun and on his own ng qua]. the oroups Red Prysock and Rusty Bryant Will, a nice line. Jackson has a stunning ng quite Jind., tben. The arrangem ents are simple; arco solo on Wo es, and his fine tone and ,n Smile lbpianos: Conversations its. The Personn el: All en, 1rumpe1, vocnJ; ltuss e.ll, cl nr• electric him in a less frenzied setting. foer; St l! YC K uhn, J>iano; Charl ie H aden, b11ss; With Myself. Six years have passed. rich in An unprofound but entertaining LP. Marty Morell, drums. The dangling conversation is re­ t, but it -Pekar Rating : **** sumed. And the pianist speaks with Recorded at a concert-lecture at Mas­ even more authority now. The dia ­ nch is a logue has been perfected as the ar­ loosened sachusetts Institute of Technology less John Klemmer tist within has grown. With fewer . Longo than six months before Allen's death in questions , more swinging state­ INVOLVEMENT-Cadet LP/ LPS 797 : Stand April 1967, this record becomes the 1e comps {!t 1/Je S1111; At,, Blu •s; You Doth K11orv W/J111 ments . Other voices, other tunes. Lou• ls; u,1., With Th•m W'oes; Pnn io11 Food; trumpeter's last testament. 1'/o,i, D ,op l.s 1/Jo Ocen11; Will ,,,, Jug. The original Conversations has re­ greatest, Personne l: Kl em.mer, tenor s11xopbonc: Jodie The lecturer was Whitney Balliett; pre­ mained Bill Evans' best-selling al­ me slice Ghtistiao, piano ( tracks 2, ~'!, 6): Sa.ni 'f homns, sumably, he selected the musicians. Allen bum. And perhaps also his best. ,iuhar (tr acks 1, 3, s, 7); .Melvin Jackson, boss; s. 'Wilbur Campb ell, drums. and Russell make a superb team (they Now overhe ar this: had not recorded together since 1932), ·genstern Rating: * * * * * What a pleasant surprise to pick up and the idea of backing them up with a this unheralded debut album by a young contemporary rhythm section was essen­ Chicago musician and discover a first-rate tially a good one. iD 1492: However, idea and realization are two •; Things player with his own story to tell! -; Brother Just 21, Klemmer already has the ma­ different things, as mankind has long since e Cooker, discovered. This is a weak rhythm section , ll Abreu, ture musician's disdain for the empty , Benson, gesture. There is no nonsense about his and the best that can be said for it is that .and Jr., Iumphrcy, music; it is direct, intense, and together. it doesn't do much harm. Except for .elis, Max No gimmicks; just good, honest music . Haden, its members contribute little imag- , Klemmer can play his horn . He 's got ination and little drive, but the two veter- ans aren't bothered. . ·e repre- fine tone, control all over the instrument, and excellent articulation. He can play Both Allen and Russell have styles that 1 of the are so thoroughly individual that they oc­ I music. fast when he wants to (Woes), but he never falls into those all-in-the-fingers­ casionally border on the eccentric. Mirac­ -Fa was ulously, they complement each other, and Ready is n~thing-upstairs runs that young players V/VG-8727 their ensemble passages are mysterious and ings Go With good technique commonly display. The first jazz piano album recorded delightful, the unpredict able lines merging in a brilliant new sound process (us­ 1la com· He can holler, too, but he doesn 't make a !bing of it. There is, in fact, very little and separating, yet always converging in ing 30 inches-per-second tape) that !hat seem aquircd or merely fashionable musically meaningful patterns. captures every emotional nuance, nderson, every musical whisper,with incredi ­ rformed, Ill bis playing; it has that natural presence Allen, it mu st be said, was not physi­ ble depth and clarity. I heavy, and tlow that we associate With Jong es­ cally in top form. His range, usually , this-is· tablished mu sicians .' spanning the horn from top to bottom, is , section He is a gifted composer, too. Sun, restricted here. But it is an indication of nembers Blues, Woes, and Passion are his, and all his experience that he doesn't fight it; he and dis· ~re good. Passion, especi ally. lt is a fetch­ accepts the limitation, and concentrates on ~g , melodically substanti al bossa nova. what he has to work with. Thus, his sound lues is a h appy line, gciod to play on; is full and warm, albeit less brilliant than !nderson V(• rVl' l~t•• •H<1"> 1$ ,l (llVl'-,1011 ot Mt:!tro Golclwyn-Mctyf'r In ( ,rovisers,