Chicago youngsters who dug Oliver, Noone, a Middle Eastern flavor; Flamenco and All Schroeder, piano; Milt Hinton bass; Cliff I . cmu Panama Francis, drums. and Armstrong on the south side. Blues reflect ■ strong Ravel influence. Rating: + Ar + lhe two instrumentalists who seem to Flamenco and Freeloader are both blues, This is a new label stemming from stand out on these sides and whose plating but each is of a different mood and con Grand Award and commandeered bv for is good listening, regardless of the year, ception Sketches is in (i/8. which achieves mer commercial bandleader Enoch I ight. arc Russell and Freeman Otherwise, as a rolling, highly charged effect, while Free There is definite concentration on an effort Thomas Wolfe said, "you can't go home loader is more in the conventional blues to improve sound reproduction, sound again. ’ Even musically. l he jazz excite vein, l he presence of kellv on / rceloader fidelity is achieved with multiple tvpes of ment is gone unless vou coniine your in- mav account partly for the difference be- microphones, custom typing the mikes to terest statistically to a period, certain tween the two. the particular instruments. jazz soloists exclusively. And that is not Miles’ 'playing throughout thc album is Doolev is a well known Dixieland horn too rewarding. poignant, sensitive, and, at times, almost man around New \otk who has bis own the The thing that amazes is that in morose:. his linear concept never falters. band, lhe striking back feature apparent two pictures on the back of the album Coltrane has some interesting solos; his ly is a crack at such bands as the Dukes cover, Condon looks younger in 1959 than angrv solo on Freeloader is in marked con of Dixieland that have made n on sound he did in 1939. I hat preservative he uses trast to his Ivrical romanticism on All Blues. reproduction The Rebels claim lheirs is is sure working. the true Dixieland sound. I he musical mistake on this record is Miles Davis repressible joie
Suing Spring. in particular, demonstrates that Davis was reads to lead the wav out of Bill Potts, The ¡azz Soul of Porgy and Bess (United Artists 1032) the cliche-ridden 1 tan-blow-stronger-than- vou arena into which many jazzmen had stampeded bv the mid-50s. Midnight, perfoimed bv the most esthet- Stan Getz, Award II inner Stan Getz (Verve MG V-8296) icallv satisfying of all Davis groups, is a musical cssav on the virtues of lyricism and Ruby Braff, Easy Now (RC\ Victor LSP-1966) horizontal structure, combined with har Isambert-Hendricks Ross, The Swingers (World Pacific 1261) monic insight, a classic performance that Oscai Peterson Trio, The Oscar Peterson Trio at the Concertgebouw should be in anv thoughtful collector's (Verve MG-V8268) library. Bud Shank I am indo Almeida, Holiday in Brazil (World Pacific ST-1018) Mile» Davis KIND OF BLUE—Columbia CI. 1355 So Hiatt Freddie Freeloader; Blue in Green; Fla menco Sketches; All Blues. Personnel: Davis, trumpet: Julian Adderley, alto: John Coltrane. Bill Evans, piano Ray Bryant, Alone with the Blues (New Jazz 82l3:Blues #3) < all tracks except F reeloader I; Wynton Kelly. Kenny Denham, Blue Spring (Riverside RLP 12-297) piano (Track 2); Paul Chambers, bass; James Cobb, drums. Duke Ellington, Ellington /azz Party (Columbia CL 1323) Johnny Hodges, Duke’s in Bed (MG V-8203) This is a remarkable album. Using very Billie Holiday, Billie Holiday (MGM E3764) simple but effective devices. Miles has con |. J Johnson, Blue Trombone (Columbia CL 1303) structed an album of extreme bcautv and Barney Kessel. Some Like It Hot (Contemporary M8565) Lee Konitz, Tranquility (Verve MG V-8281) is a simple one—far from it. What is re Lou McGarity, Some Like ll Hot (Jubilee SDJLP 1108) markable is that the men have done so Seven Ages of Jazz Concert, 7 he Seven Ages of Jazz (Metrojazz 2-E much with the stark, skeletal material 1009) All the