STORYVILLE RECORDS, INC. Slick Fif' H Have Not Previously Been Issued Such Lineups As Trumpet, Alto, Accordion, While the Boogie Also May Be New
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ef: ctive. Fine engineering by Val Vai- ancy, however rhythmic, that is a tie. Hampton fault (Hallelujah, Hamp's ci bed :n a 10 LP, this would have been Boogie), this is an energizing example • ^ot; ■ry good set, but over 12" and 12 of informal, richly swinging, mutually • Rd. there is too much trading of kicking improvisatory interplay. mill! d n. nbone choruses, too little variety Particularly memorable are a sensi of unber, and too much of a feeling tive Started, Oscar’s rocking solo in ot i challenging assignment skillfully Love, Ray’s statement in the same num- a< inplished but accomplished beyond ber, and Hamp’s relentless swing al ny its most satisfying point. (Bethlehem ways. Hamp sings in Sweethearts, not I ew, 12 I P BCP-46) a memorable event. Bill Simon again 1 roy has contributed a very helpful detailed M ra Freddie Greene analysis of the proceedings, plus a one ap- p m the Blues; Down for Double; page biography of Hampton and a ■ng Ila k and Forth; Free and Easy; Learn- skilled two-page essay on additions to ny in the Blues; Feed Hag; Something's jazz instrumentation in the last 30 0111 Go ta Give; Easy Does It; Little Red; years. ( Vmerican Recording Soviets 12 Sw. iging Hack; .1 Date with Ray; II hen I P G4O3) lot II ish Upon a Star the Jonah Jones Rating: ittlj ot. It's III Right with Me; From This oni dr. Rhythm is the first LP under the Moment On; beamin' the Blues; Some lea tership of the world’s greatest thing's Gotta Give; 111 of You: Lullaby “Miss Vernon sings, a re rhy mm guitarist, Count Basie’s un- freshing rarity among of Birdland; Basin Street; High Society; aniplified tieup man. His colleagues current girl singers.” — r iiar- he: are Al Cohn, tenor and clarinet; Tin Roof Rlues; Muskrat Ramble; It Nat Hentoff n Hid Joi Newman and Henry Coker from Sundown In the sincere tradition of real sing li - lied tin Basie band; Nat Pierce, playing Rating: ★★*2 ers, like Lee Wiley, Teddi King, and Ba-ie-like piano but with only a fair It may not be entirely fair to review Jackie Cain, Storyville proudly pre Oes n’t portion of the authoritative smack of Jonah Jones at the Embers in this nil is tin original; bassist Milt Hinton, and section because musically, the title is sents Miss Milli Ven.on. Backed by alti mating drummers Jo Jones and quite accurate although there is no all-stars Dave McKenna, Ruby Braff. Wyatt Beu t he i , Jimmy miliar Osie Johnson. evidence the set was actually recorded 1- eddie is author of the eight slim at the club. Raney and Jo Jones, Milli Vernon creates 12 magnificent sides, includ oi linals, and the arrangements are by Jonah’s quartet has won itself five ing SPRING IS HERE, WEEP fuent- Al Cohn (3), Ernie Wilkins (5), and more years of steady return gigs at the Manny Albani (4). Victor should have Embers by fitting in witli the demands FOR THE BOY, and MY” SHIP. done better by Freddie on his first LP, of that room’s clientele for music-to- STORYVILLE LP 910-12 '—3.98 is not much better. talk-and-be-seen-by. Only rarely these hough First of all, unlike John Hammond’s days is tile Embers a real jazz room. HEAR THESE more care in Vanguard’s Jo Jones Special Carmen Cavallaro did the year’s best GREAT NEW / on is to provide space for fire to spread, business there. Most the time, the music 12" LP'S (3.981 7 Ï, too, Jack Lewis unwisely crammed 12 tunes played there is ersatz jazz, as in much ioncd, into one LP. And these 12, although of this album. With few exceptions, FROM «A plod- F I eddie’s riff-built ideas are attractive Jonah doesn’t let the music dig deeply £ are and lean and the arrangements are enough into the emotions to disturb the STORYVILLE! idea loose and swinging, have too much of a conversation or the smoke. s LP sameness about them over a whole 12" The pat, mostly dullish “heads” ;ss of set. Secondly, the solos by the horns frame the melody clearly. The pianist TONIGHT'S JAZZ TODAY WLP- Bobby Brookmeyer and Zoot aren’t long enough, and although New has a faceless style that is more sweet Sims team with Hank Jones, STLP man and Cohn are particularly good, ness than light, and the rhythm section Wyatt Reuther and Gus John no one really flies here Thirdly, since is competently polite. son for some of the finest, such this is Freddie’s LP, there should have Only Jonah, a distinguished veteran a THE CHANT. BLUES, md HOW LONG HAS THIS BEEN 907 Name been longer stretches of rhythm sec of the swing era, with strong Louis in GOING ON. mcittg tion under sparse piano so that a closer fluences (heai the last half of Basin cannot entirely restrain his l)iMr; look could have been taken at Freddie's Street), 1 FEEL LIKE A NEWMAN mastery of the “rhythm wave.” lazz soul so that what moments of Basie sparkplug Joe Newman 1 tn er, What we have here is a quite pleas strength occur are all his. (Tracks 3, 7, leads two fine groups including STLP ant, pulsating set that could have been 9. 11). But throughout Jonah does play John Lewis, Gene Quill, Freddie neune Green and Milt Hm(on through Thing titled by just anybody’s name on the with taste and warmth, even in this the swinging MIDGETS. IM date. It is not distinctively a Freddie marshmallow context. And he swings AGINATION. THIS TIME THE 905 Greene showcase and it is only mildly always. DREAM'S ON ME, and others. recommended. Victor ought to give Despite the rating. I’d suggest you Life, Freddie another outing and next time hear this for Jonah. I wish though he HUSTLIN' A BUSTLIN' lenta- ought to learn how to spell his name. had removed the mute at least a couple Trumpet ace Ruby Braff blows rings around some great ones Fran- (Victor 12 I PM 1210) of times. He sings once on Basin. Har like THERE’S X SMALL HO STLP n LP old Austin is on drums; John Browne, TEL, HUSTLIN A BUSTLIN' itonee I .ionel Hampton bass, and George Rhodes, piano. and WHAT’S THE REASON uitar. I’M NOT PLEASIN’ YOU. in I Can't Get Started; Hallelujah; (Groove 12" IP LG-1001) 908 g and good romnany such a- Ken Ker Sweethearts on Parade; Flying Home; sey, Milt Hinton, Vic Dickenson > are Love for Sale; Midnight Sun; Hamp's Mat Mathews and Jo Jones. Tom- Boogie Not So Sleepy; Now See flow 1 ou juson. Rating: *♦**,2 Ire; The Puritan; As Time Goes By; JACKIE & ROY STLP bari- II hat a Difference a Day Made; How What else? It’s Jackie Cain and ection The jazz mail order series issued by Deep Is the Ocean; I Only Hare Roy Kral with Barney Kessel, Eye, Red Mitchell and Shelly Manne. Paich th< American Recording society in con for You; Later On 904 lately junction with Norman Granz continues Rating: with a heated Lionel Hampton set. On NOW IN VOGUE STLP often tin first, second and fifth tracks. Li The Modern Art of Jazz by Mat —TEDDI KING taste, onel’s jam-mates are Oscar Peterson, Mathews is, tn several respects,, an With fine barking Miss King sings wonderful standards; u at he Buddy Rich, and Ray Brown. Herb admirably conceived album. Imagina "clear, clean melodic ap 903 nbone El’is is added on three more, ami tively programming a variety of in proach.’’ with M blight Sun features Hamp against a strumental combinations within a wi Icomely muted big band. So far as limited budget, Mat presents an unusu h for I an discover, the first three and the ally flexible concert-in-miniature witli STORYVILLE RECORDS, INC. slick fif' h have not previously been issued such lineups as trumpet, alto, accordion, while the Boogie also may be new. piano, bass, drums; cello and accordion; 75 State Street, Boston, Mass. quite Except for the too frequent redund- flute, guitar, accordion, bass, drums; B. at June 13. 195b 21.