behaving at least as normal human ence to add to the dossier. I recently beings. Do you know why we don’t assembled an LP of Duke Ellington have a single drug addict in the Italian 1940-42 reissues for Victor that were music world? Because he would be de released that label’s Down Beat spised by everybody, and would get series under the title, In a Mellotone. I By Nat Hentoff immediately out of the business.” worked with the original recordings, Note» Between Set»: Broadway is not and was shocked to hear the shrill ARRIGO POLILLO, editor of Mu ready yet for the kind of musical thea sound of the final LP once the engi sica Jazz in Milan and a lawyer, is ter that challenges the audience to neers had finished their “enhancing.” one of the most responsible, best in awaken its own imaginative resources. Leave the middle and the bass in the formed, and understanding supporters Witness, for example, the demise of body, Enhancing doesn’t of jazz in Europe. Cranks and the alarming health of making bands and soloists into castrati In a recent letter, Happy Hunting, with the agressively by running them through echo chamber . . . he underlined sev- untalented Ethel Merman. Annie Ross . i al neve'! r- m indicated in Cranks, incidentally, that IT’S PAST TIME, in fact, for a re I plaints concerning she has a brilliantly individual future appraisal of engineering on most cur the behavior and at on stage in any of several capacities, or rent jazz dates as well. In reviewing T* titudes of some, not m all. She also still sings very well . . . Blue Note’s The Magnificent Thad \ all, American jazz- Yannick Bruynoghe, the man responsi Jones for the San Francisco Chronicle, jP men who have been ble for Big Bill Blues, is editor of a Ralph Gleason points up one of several " booked in Europe new monthly jazz magazine, Jazz 57, debatable aspects of the Van Gelder /*<^ in the past three 8 rue de la Fourche, Bruxelles, Belgium school of jazz recording: / years. I’ve read and . . . If you find spirituals and gospel ’The recording super-hi-fi, heard similar in i-ecordings as unfailingly refreshing a which I mean that the ubiquitous Rudy dictments from oth fount of emotional stimulation as I Van Gelder has managed to givf each er friends of mine in France and Ger- do, you might want to write for a instrument so much presence that he many. Polillo does not overstate the catalog to Duke and to Peacock Rec has achieved unreality. No group really case.: ords, both at 2809 Erastus St., Houston sounds like this.” May I again prayer “You always write,” Polillo says, 26, Texas. They have some of the more fully recommend that jazz engineers afford “that drug addicts are sick men ind volcanic artists in the field . . . listen to what David Hancock has done they must be cured, not blamed. Well, Mike Levin accurately criticized Vic on the Dawn Paul Quinichette LP, The they may be sick but certainly Kid from Denver. they are guilty. It1 is important that tor’s engineering department some BEAT no drug addict should be allowed to months ago for the damage they did Phil Woods often sounds to me like cross the ocean in the future, also be to the sound of the original Benny a modern Don Stovall, which is meant cause their example has meant ruin to Goodman recordings in the process of as a note of appreciation to both . . . many jazzmen in some European coun “enhancing” them for the five-volume When is someone going to give Idrees tries. Goodman set of last year. In the Na Sulieman an LP of his own The “MOREOVER," says Polillo. “the tion, B. H. Haggin is continually as concerts being given at Town Hall this guys that make the trip to Europe saulting that same engineering depart season by Margaret Hillis’ American tributed must absolutely realize that here their ment for their antic activities in “en Concert Choir and Orchestra are models music is highly respected. They must hancing” some of the Toscanini sets of intelligent, explorative program mak live up to the reputation they have, they issue. Now I have personal experi- ing. Miss Hillis ought to hire herself THE WORLD’S GREATEST JAZZ! I
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