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Band Routes Evolution of Jazz Metterne Leaves Herd for Fields

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Band Routes Evolution of Jazz Metterne Leaves Herd for Fields NEWS-FEATURES Chicago. February 8, 1952 among the musicians in a friendly, critics, is, however, c«>nce'-ned that noncompetitive atmosphere. his emphasis on modern jazz in bin Diz Strikes Happy Compromise Bob Wilber “The guiding principle of teach­ own work not be misconstrued as (Jumped from Page 7) ing is the development of the ear, any lessening of his respect for Tristano school is the most impor­ because finger technique, tone, and authentic, non-imitative New Or­ Between Jazz, Commercialism tant force in present day jazz. similar essentiale useless leans musk. “It’s the best place,” he says, “for impro\ isatinn if the ear is dor­ a musician to develop his ability to mant. New 1 ork—Dizzy Gillespie has become a standard favorite “Through analysis and practice, Those he points improvise, to develop his potential­ out, “who were the pioneers and at Birdland. This is not remarkable, since the same thing ities for originality. There’s a con­ the Tristano student becomes fa­ miliar with an infinite number of important contributor during the light just as easily happen to Les Paul perish forbid. tinually fertile exchange of ideas height of New Orleans jazz— Maynard Ferguson. What i- remarkable is that Diz has achieved rhythmic, harmonic, and melodic possibilities that he has Bechet, Ory, Foster, Simeon, etc.— this modest but consistent success -;---------------------------------------------------- were ‘the modern jazz’ musicians [«any and sometimes opens a set greatest variety of materia* by striking as happy a conipromise Metterne Leaves draw from when improvising” in their youth. They experimented a» one could wish between musical by apologizing for being late—“the with ideas and techniques and commercial consideration». Ku Klux Klan was . a benefit Other Studie* they did not imitate what ha« Dizzy's band is musical. In its for the Jewish Well lociety at Aside from his hours at the done before them. be=t moments, playing charming the Harlem YMCA, so we’re lucky Herd For Fields Chicago — Doug Metterne, lead Tristano school, Bob is also study­ ‘These and others riff tunes like Birks Works, it to be here at all.” ing with Peanuts Hucko to perfect still have this approach, Therefore, swings beautifully’, lightly, and Diz After all th«' headaches Dizzy trumpeter Woody Herman’s band for more than a year, has his tone and embouchure and al­ their music is as vital and ‘mod­ has been blowing some of the fin went through with his big bands, most every afternoon will find him ern’ as ever. The same holds true it's nice to see him making it with left the Herd to rejoin Herbie est horn we’ve heard from him in Field’s combo at the Silhouette club alone at Eddie Condon’s with his for any jazz style. years Milt Jackson’s vibrant solo this combo in several ways: he's horn and a metronome. “For example, th«' continued vi­ work and Bill Graham's baritone making pietty good music and here. In addition to this change in the Fields personnel, it is rumored In the midst of this constantly- tality of Hackett, Freeman, Clay­ sax are potent assets, too. pretty good money, and making a stimulating activity, Wilber is un­ ton, Ellington. Whether u musician lot of customers happy too. that Frank Rosolin« will replace Ecunomv Bob Burgess on trombone. Guitar­ impressed with the critiques from plays in contemporary older former admirers who accuse him idioms is unimportant compared to Dizzy’* band is economical. He ist Ronnie Singer has taken over for veteran Fieldsman Rudy Cafa of abandoning Dixieland for the his creative approach and original gets so much out of this setup that "intellectualized aridity” of mod­ ity. Parker and Tristano imitators you do a double-take when you’re ro, who left to stay around New- Record York with his wife and a new set ern jazz. His answer is a classic are no more valid than Beider­ reminded it’s only a quintet. There statement on the subject becke or Dodds imitators. But, of is no regular p-amsr Jackson, Gra­ of twins. Remaining group “Listeners of this kind are con­ course, imitation is not the same ham. and Diz himself all double on fusing the feeling the music evokes as influence.” piano, and of Diz adds Reviews drummer Guy Viveros, pianist Joe «Jumped from Page 15) Black, and bassist Jimmy Aton. in the listener with the emotions ex­ many Cuban percussion sounds pressed by the performer through Hone-t when required. originally released on 12-inch Com­ The outfit will stay at the Silhou W’ilber is practical and honest ette indefinitely. his playing. The easier it is for tne Dizzy’s band is funny. Since jazz modore discs. listener to comprehend the melodic, about his own goals in music. “I’d does not live in a vacuum but is This set brings together foi; rhythmic, harmonic, and tonal as­ like to develop sufficient techniqu«- part of the great field known as about hour's uninterrupted pects of any music, the easier it to be able to play radio, TV, com­ entertainment, we find nothing of listening a jam session featuring Band Routes will be for him to get an « motional mercial jobs if necessary in order fensive about the fact that bop most of the stars who built Com­ impact from it. (E.g. Tennessee to make a living. In this position, vocalist Joe Carroll is a great modore’s fine jazz catalog. They (Jumped (rom Page 17) Waltz as opposed to a Bartok when I play jazz, I won’t be com­ laugh-getter. While his singing sel­ were made when Milt Gabler and Mossman. Ted < Desert Inn ) Las Vexas, h quartet.) pelled to make commercial compro- dom achieves the stature of Leo Eddie Condon were pioneering an Page, Patti (Ambassador) L. A., h Watson, who was obviously his all-jazz label. Raeburn. Betty (Felling's) Elizabeth, N.J., More to Hear nc “I have no plans about forming early idol, Joe’s sense of humor The Carnegie tunes are credited Reed, Lucille (Streamliner) Chicago, nc “Modern jazz requires much a band. Uncle Sam will probably blends perfectly with that of the to Jess Stacy. Bud Freeman, and Richard, George (Kay-El) Chicago, cl more listening to ‘get with it’ for have something to say about me in leader. Eddie Condon, but are strictly on- Rio. Ray (Harry’s) New Bedford. Mass., cl the average listener than Dixie- Robie, Chet (Sherman) Chicago, h the near future. In any case, I the-spot improvisations. Katharina Sacco, Tony (Southern) Columbus, Ohio, h land, because he is not as familiar have m way of telling how' long If you don’t hear them too many is one of the best sides in the Com­ Smith, Eugene (Hi-Hat) Boston, nc with the techniques employed. He I’ll want to i-tudy at the Tristan»- times. Dizzy’s announcements are modore lists, featuring some fine Soper, Tut (Stairway to the Stars) Chi- has heard the harmonics and melo­ school. funny, too. He dedicates The Near­ Max Kaminsky, Joe Bushkin, and rn, Jeri (Esquire) Dayton, dies used in Dixieland in popular “A* to the type «if group I would one of the instances where ness of You to the Lifebuoy com- (Prince George) Toronto, In music for the last 30 years or like ro have or play in, I prefer Big Sid Catlett takes off. I^es (Streamliner) Chicago, more, so naturally he is well ac­ t, George (Showboat) Rock small band« because there is more PnOMET Music Scholarships ar, Th« 20 minutes or so of working quainted with them. chance for improvisation. I’ve •»UnNLf a , ac.» at th* UN*- over Good Man is the kind of thing Sutton, Ralph (Condon’s) NYC, nc “There is plenty of emotional VERSITY OF MIAMI. thought some about the advisabil­ it was hard to handle on 78 but Tucker, Sophie (Baker) Dallas, Out 1/27. h nipact to be gotten from Parker, Avditioas sow being held at th« famous Tobin. Shirley (Seneca) Rochester. N.Y., h ity of adding to the instruments together in one playing it bears Tristano, etc., if the listener will CHARLES COUN STUDIOS Vaughan, Sarah (Rendezvous) Philadel­ generally used in jazz. E JAMES BURKE close listen!’ j some fin« jazz phia, In 2-29. nc allow himself to Income as fa­ happens, with Muergsy, Maxie, Walter. Cy (Albert) NYC. h miliar with the techniques em­ P«eWee Freeman, Mole, and Stacy Williams. Joe (DeLisa » Chicago, nr ployed as he is with the techniques Winters, Jeri (Dubonnet) Chicago, cl “Though the instruments which all involved. (Commodore LP DI Wittwer, Johnny (Hangover) San Fran- of Dixieland." up to now have been considered 30006.) Wilber, while answering his opposite to jazz do seem more flex­ ible and better suited for project ing individuality than flutes, bas soons, oboes, violins and the like, who knows? There is still a tre­ mendous lot of territory to be ex­ plored in jazz.” And there is no doubt that one of the most creatively original mid uncoil«!» omising exnlorers will be IMPOSSIBLE.. Bob Wilber, who will never be ac YOUR DEALER WILL PROVE IT TO YOU cused of preferring financial se­ BUT WE DID IT curity to musical sterility. Evolution Of Jazz ‘you couldn’t tell them opaci Q The name of cornetiM Buddy Petit i» «till circulated undoubted); and was one of the factor« that strengthened Petit’s deci­ by numerous of the New Orleans veteran*, but little of ever to pick up ■ horn. In addition to supporting several sion to return south.
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