Thompson, fine Clayton horn, and a rather unrelaxed trombone solo by the usually excellent Lawrence Brow;. There’s a fine rhythm section througi - HARMONIOUS out with Sir Charles, Skeeter Best, M t Hinton, and Jo Jones (with Bobby Donaldson on Taking). There are kicks to be had here, but none of mine can e from Laine. I can understand doing this with Rosemary Clooney, who can The Honey Dreamers, wail when she wants to, but Frankie Popular radio, TV, just doesn’t make it jazzwise. (Colum­ performers and Fantasy bia EP B-8081) recording artists

Hingin' for Diz; Ruby My Dear; Tune Up; La ( haloupee; Day In Day Out; Stanley ; Thi» Time the Drum'» on Me Rating: **** This Time the Drum’s on Me is the Brilliant arrangements and «u title of Stan’s second session for the distinctive harmonious renditions T / label (and his first 12" LP). With him of pop tunes characterize the are , , Honey Dreamers, make them outstanding. Frank Rosolino, , and . The program is a well selec­ And to fully enjoy listening to the ted one except for the stiff ensemble $ writing on Day. vocal artistry of the Honey Dreamers and your other favorites, you’d Candoli plays well, often very well. go a long way to match the Rosolino is good but his frequently choppy phrasing prevents his flowing fautless reproduction of the AMI juke box. as much as he might. Gordon’s con­ ception is sometimes stolid, but he That’s because only the AMI has swings hard and on his long vehicle, Multi-Horn High Fidelity; exponential Stanley, he comes on with very strong horn sound reproduction as found only in blues-directness in what may be his expensive custom Hi-Fi units and in the AMI juke best solo on record. The rhythm sec­ box This exclusive sound system lets tion cooks steadily, and Lou Levy vou enjoy the full performance of each artist. is the most creative soloist on the date. You hear every phrase, each note in every range, Stan, unlike on his first Bethlehem the highs, middles and lows as they weave LP (1017), has controlled the volume the harmonious whole. AMI lets you hear of his drums for the benefit of the en­ the complete performance; all the sound on the record. semble, and he has also limited himself to one solo, an almost unprecedented act of modesty for a drummer heading his own session. For the latter contri­ This popular juke box, with its smart two-tonc. bution alone to recording precedent, cleanly styled cabinet has eye harmony, too. Its Stan deserves an extra star. Very good the one automatic phonograph designed for engineering by Vai Valentin and help­ your complete listening pleasure. ful, unpretentious notes by Joe Quinn. (Bethlehem 12" I P BCP-37)

Howard McGhee For a satisfying experience in musical entertain­ ment. play the AMI soon in your favorite nearby spot. Get Happy; Tahitian Lullaby; Lorer Man; Lullaby of the Leaves; You're Teasing Me; Transpicuous; Rifftide; Qo-Wee Hut I Do; Don't fílame Me; T tr redles Rating: Howard McGhee’s return to records AMI Model "G" with the exclusive after over years’ absence is a wel­ WIDE SCREEN High Frequency Horn come one. Although I don’t agree with Leonard Feather’s assertion in the notes that Howard is “one of the top two or three trumpet players in mod­ ern ,” he certainly is one of the better hornmen on the scene. His work is flowing, imaginative, and swinging. He is not, as Leonard accurately points GRAND RAPIDS. MICHIGAN out, flashy, but rather makes sound musical sense no matter how up the tempo is on these sides. His ballads, too, are sensitively freshened (as in Tki/ie nx> UrB llfot AM ¡-Fi ! Lover Man and Blame). His horn support comes from Dizzy

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