oris Day eiiq Up Top R°ie luits Warners |n ’Pete Kelly's Blues (Tradraurk Re«l.tered U.S. Feral OIIir»l Primed by Joba Maher Frlallag Co- Chiras» w I Hollywood — Doris Day, after Vol. 22—No. 5 Chicago, March 9, 1955 Hollywood—Jack Webb was negotiating at deadline of Might years With Warner Brothers, [ha- been released from her con- Part One of Two Parts this issue to sign Ella Fitzgerald for the role of Maggie Kract at her own request. Jackson in the upcoming screen version of Pete Kelly’s P In 1947, after soloing on one of Blues, Richard Breen’s films- ILes Brown’s biggest records, Senti- adaptation of the radio serial of hmntal Journey, she left the band the same name Webb starred in Ko make a try as a single. She got some years ago. las far as a date in a small New Maggie Jackson was one of the lYork club and didn’t appear to be principal characters — a Kansas [going much further when she was City night club singer—in the radio New York — One of the [signed, at the suggestion of song- serial but the role will be expanded plagues of a jazz ptanist'« life [writers Sammy Cahn and Jule into one of more importance in the is the state of unharmony of [Styne, by producer-director Michael film. The locale and general out piano« Curtiz for the lead in Romance on lines of the story remain the same, club» and auditorium». Recently, ' the H igh Seas. with Webb in the role of the trum I She recently completed the lead pet player (the soundtrack to be in MGM’s Ruth Etting biofilm, recorded by Dick Cathcart). Opening scenes will show a jazz Love Me or Leave Me, on a loan just before the concert began, musician being laid to rest in a from Warners, and as partner with turned to one of the promoters, her husband and business manager, New Orleans cemetery, with the smiled grimly, and said, “Nice Marty Melcher, in Arwin Produc traditional jazz-legend band in at harpsichord you have there.” tions she is scheduled to star in tendance. The sequence will be shot her own biofilm, Rhythm and Blues in New Orleans, and the music will and at least one other picture for be recorded there by a New Or Warner release. A CARLOAD of talent gathered at a meeting of the west coast leans band assembled there by National Ballroom Operator« Association members in Los Angeles last Webb’s music adviser, Matty Mat month to discuss problems of mutual interest to leaders and operator». lock. Starting date is tentatively New TVer Spots On hand from the band fronts were (front row): Sam Donahue, Woody set at March 1. Bands Push Herman, Leo Anthony, and Jerry Gray. At Rear: Stan Kenton, Lawrence Welk, I-es Brown, Harry James, Ray Anthony, Freddy Martin, and McKinley s Ork Into Midwest Orrin Tucker. (Photo by Dave Pell) Columbia Debuting Chicago—General Artists Corp., New York—Ray McKinley and is pointing its name bands in this 'Hall Of Fame LPs a 12-piece orchestra will provide the music on WABC-TV’s new 2’s- direction for its seasonal midwest- Rogers Joins Atlantic Records New York—Columbia Records is em push. Nearly a dozen of them hour variety show, Entertainment. issuing a handy collection of rec which debuts Feb. 28. McKinley’s will go out on tour before or dur ord classics in its new Hall of ing the spring. band will include such musicians Fame series. The first two 12-inch as Mel Powell, Bobby Hackett, and Jan Garber runs out his current As Music Director And Artist LPs in the series are A Treasury Billy Butterfield. one-niter itinerary on March 3 of Song Hits, which presents top when he opens the Roosevelt hotel Hollywood—The first act of Nesuhi Ertegun after joining vocalists in a collection of their Entertainment, to be seen week in New Orleans. Russ Morgan and brother Ahmet’s Atlantic Recording Corp, as vice president hit songs, and Ballroom Band days from 12:30 to 3 p.m., will Ralph Flanagan will make this stand, anthology of (xipular in feature Ted Postoq as emcee, with territory through March, while Joy was the signing of trumpeter Shorty Rogers to an exclusive strumental hits. singer-pianist-guitarist Bob Carroll Caylor and her all-girl band em contract under which Rogers will^ The record and Marion Colby, who is current is a leadei' in the modern jazz Ballroom Bandstand bark later in the month. Henry be music director (including a&r 1 ing features such well-known in ly appearing in Pajama Game. movement and will give Atlantic Busse will spend March circling activities), as well as a recording 1 strumentals as The program will originate each more of the strong package mer Two O’clock Jump Texas and other southern points. artist. | ’ by Harry James, Drummin’ Man Monday through Friday from Ralph Marterie and Buddy Mor- chandising it is planning.” Rogers, who has been heading a by Gene Krupa, Jersey Bounce by ABC’s Little Theater in Times vow have their midwestern dates small unit featuring Shelly Manne t)(>fol.e when the latter was han- Benny Goodman, and Northwest square, playing before a live au in April, and the Billy May ork Passage by Woody Herman. dience of 300. With Sam Donahue at the helm here, formerly was under contract d|ing ly22 i-eleases for Contem to RCA Victor u- come through in May. Ray An porary. making the switch because it will| thony is reorganizing his band to give him “greater freedom and begin a tour of New England on April 9, and Stan Kenton is sched wider opportunities.” uling the central states for May “We are pleased,” said Nesuhi Mary Lou Waxes And June. Kenton, incidentally, is Ertegun, “to inaugurate Atlantic’s First Nitery Date In 21 Years planning to carry his dance lib expanded EP and LP program with rary, not his concert book. an artist of Rogers’ stature. Shorty For Jazztone Discs New York—Mary Lou Williams, A Big Fred Waring Success back in this country after several Flash Disc Stars, With No Biz months Europe, recorded album recently for the new Jazz Las Vegas—Fred Waring’s Pleasure Time Revue of 1955, tone society (Down Beat, Feb. 9). his first nitery appearance in 21 years, scored a big success Accompanied by Wendell Mar with Vegas audiences during their$" in Show Biz, Called Ruinous shall and Osie Johnson, Mary Lou first night club appearance in the performed in a widely varied pro Congo room of the Hotel Sahara. gram which included an old blues Everything about the show was Turk Murphy The in-person circuit is in no her mother had taught her; a rag in keeping with the high musical Chicago — There’s a grow happy state today, as is shown time piece; Roll ’Em; a modern standards and excellent sense of ing cynicism among certain with fewer night clubs operating composition, I Love Him, that she showmanship that has long been talent agents over the future profitably each year. A cheapening had completed the day of the ses associated with the Pennsylvan Set For East of performances, at increasing tal sions; Jericho in a mambo-born, ians. Since the production came to of a show business that has ent prices often determined by a cha-cha-cha framework, and some the Sahara as a complete package San Francisco — Turk Murphy, Allowed itself to become heavily de single disc, conceivably could so standards. show, it really had to stand on its who is currently breaking all rec pendent upon the record industry. sour the consumer on stage shows own merits in order to make it. ords at the Tin Angel, waterfront On several numbers, Mary was Dixieland joint, leaves early in The bookers are grumbling, but as to bring about the virtual de heard without accompaniment. The Besides personable leader Waring, not too loudly, about the quality April for a three-month tour of the mise of the shows. Or at least it records will be available to Jazz the revue featured an 18-piece ork, east which the Gale Agency is now of personal appearances by artists could necessitate complete recon tone society members and may also whose members also sing and dou who have cashed in for quick rec struction of talent programs in be released in record stores on the ble on many instruments, and a setting up. ord hits, who have risen suddenly booking agencies which have been Concert Hall label. (Turn to Page 24) Murphy has replaced pianist to fame but who have no grasp of geared strongly to record stars. Wally Rose with Pete Clute, a stu the finer art of entertaining live Particularly what is found ob dent of Wally’s, and will probably audiences with what is called show jectionable in live performances by have Don Kinch on trumpet instead manship. record singers is that they defer to of Everett Farey, and Squire Gers- Today nearly any singer can the audience, never having learned, bach on bass when the group goes make records if only on small as have the old showmen, how to east. They are tentatively set to labels. And, disc successes being as be both superior and ingratiating open in Chicago at the Preview on unpredictable as they are, even at once. What agents are afraid of March 31, followed by dates in the poorest of singers can emerge is that this will result in show Toronto, Pittsburgh, and New with something of a name by way business losing its important il New York—In olden days, it was the custom for a music- York. of a gimmick tune that clicks. lusion of glamor. minded prince or local lord to have his own musical retinue, Signed, Exploited More persons than just the book an orchestra paid to play only for him and his guests. He or she is signed immediately ing agents are carping at the qual Startled conductors on a train to Detroit recently saw a present-day by a booking agency that exploits ity on the night club floor today. lord and his musical court board two private cars and roll along mer the popularity, however temporary, Old troupers, George Jessel for one, rily the rest of the way. The 20th century patron of the musical arts NY City Opera Co. to the hilt. The design is to milk have openly bewailed the changing was Jackie Gleason, a member of CBS royalty and a long-time admirer them the most when they’re hottest face of vaudeville, or what remains of Dixieland jazz. To Open March 17 and to let them go when their pop of it today. Jackie had agreed to do a benefit in Detroit and thinking glumly of the long train hours ahead, he decided to hire a Dixieland band led by ularity wanes. Naturally, all this Old Daya Cited New York—The New York City concern for a quick killing has a Mux Kaminsky to entertain him and friends en route. Opera company will open its spring way of lowering the quality of In the old days, they will be Max, who had played a party at the Gleason home the previous season March 17 and will continue performances onstage. heard to say, vaudeville raised its spring, collected such informal associates as Jimmy Crawford, Dick for five weeks through April 17, Actually, the agents deem them own stars; now it gets them from Cary, Hank D’Amico, Ray Diehl, and accordionist Bob Creash. according to Joseph Rosenstock, selves as guilty as the a&r men without from media that have no Their only job was to play any Jackie Gleason requests on the trip general director of the company. real relation to the stage. It used for sponsoring this situation today, and when they arrived in Detroit, they played at a Gleason party after The company will present its to be that a star proved himself but many sorry they ever the benefit. Then the musicians flew home because of other commit first production on the stage first and then went on started it. ments, and Lord Gleason had to return to New York musiclcss. Wives by Nicolai and record. of Windsor They fear disastrous conse- On the train, the musicians alternately made music and partook of a revival of Donizetti’s Don Pas quences in live show business— The entertainer who is not a refreshments, and soon the happy throng was joined by conductors and quale during the coming season, like the bottom falling out—from singer still must come up the hard other railroad personnel, eager to verify what their ears had heard, and also will offer Rossini’s La a parade of newcomers who pass way, and the hard way becomes The loot for the musicians, by the way, was well over scale and, as English on or off the scene according to the tougher and tougher as the record Kaminsky later reminisced, “This was the first time 1 ever played oil ‘translation by Martha W. England record charts. names steal the spotlight. a job that wasn’t a job.” and James Durbin Jr. ardi Il U U A B E A T March 9, 1955 Radio And TV Getz Going Wii Hollywood — Stan Geti soon can check off another milestone on the road back. Things Arent That Bad, Vic Around March 1 Norman Granz will release, in both LP und EP package form», the Stun New Getz -olo portion- of the final As This Show Points Out JATP comcrt of 1954 (other receives «tars were Ellington & hand, and By JACK MABLEY sales hit the Brubeck and Mulligan Chicago — Ed Sullivan did the broadcasting industry a music di groups), which took place in date dese Lo» Angele* on Nov. 8. favor when he put on his “radio through the years” show. It for its sue Title of the set. which will was a terrific demonstration of how far entertainment has of these include ■ folio uf Stan Getz advanced in a couple of decades. Paul Whiteman conducted a large Winterhal photographs and sell for .i round orchestic through an arrangement of When Day In Done, and it wasn’t anniversa $10, is “Stan Getz nl the Shrine.” Another year, another plaque for Stan Getz who continued hi» long until halfway through the thing that you realized Many believe that this perform 16. ehain of Down Beat poll-winning »uccewe« with a victory in the reader«' they weren’t trying to be funny. During ance was the greatest in his poll once more in 1954. Stan received his pluqut un John Melo-Ilan's At one point Whiteman threaded his way through has provi career. Top Shelf sliow in Boston, with Brat correspondent Bob Martin (center) the orchestra, to a spot in front of the fiddle players, grounds I doing the honor*. and personally conducted them through a few bars, gold reco sets, you’re often just really be iust like Spike Jones and Sir Frederick Gas. Four of ginning to play. Sullivan rushed up to Whitemai- as the last cymbal were Ed< “But maybe more of us will get crashed and cried, “Magnificent, Paul, magnificent!” Need You used to the concert scene in time. and he was just as sincere as when he is talking with Peri I Have The Right Band, about a Lincoln going up a hill. It was touching, It depends, too, on tht kind of Hall Ames Br< but Sullivan’s idea of magnificence and mine are in w hich the concert is held. If it’s At small and informal, the music will miles apart. be more creative. If it’s big and The Pickens Sisters were reunited, and you can Winter! Attitude Now/ Says Getz formal, some of us get real tight *ay they hud everything in their day that the Chord- Fisher’s - ettes have in this except maybe a record of Mister ened up to the point where we Mabley on recon can’t go past the point we were Sandman. Rudy Vallee sung and wa* no worse Ilian with V ic New York—Since his time of troubles, Stan Getz appears he was the day when In- was ki««ed by u grapefruit in Boston. dates for to smile less often. His demeanor on and off the stand is more the night before or the week be fore, and so we can’t try to move It was ail extremely interesting, and it all made today’s people look well a» oi serious, more concerned with security, personal and profes- ahead and play differently. pretty good—Eddie Fisher, Jo Stafford, Dinah Shore. The contrast in addition sional. His immediate musical con- * “Sometimes, too,” he says, “I get a couple of generations was beautifully demonstrated to me a couple and leadi cero is the development of his new thing to each other. We think and the feeling that our arrangements of Saturdays bad v ben a local record show played Russ Colombo's halter cl play as a unit We have empathy. unit which has been together in its aren’t flashy or big enough to hit Prisoner of Love all the way through and then ran a few bars of Perry artists, 1< present form since Nos 15. T hree As for our library, we’re trying all the people in a big concert hall, Como’s record of same. Como deserves everything he has. cord, pls of the men are recent Gerry Mul to do as few of the old record tunes Now that radio is the poor cousin of television, we’re hearing some often su] can get but they probably would go over ligan alumni — trumpeter Tony associated with me as we better in a small college hall. An really first-rate experiments. The o Fruscella, drummer Frank Isola, away with. other way in which a college con H eek End, a gab and record show Sunday afternoons on NBC, pulls provides and bassist Bill Anthony. The New Stuff* cert would be easier than a large, in a dozen talkers on a variety of subjects Walter Kieran foi funnies, “I’m very swiftly swinging pianist, John Wil big city affair is that on those col Jinx Falkenberg on women’.- stuff, a Hollywood report, Leon Pearson ever arti “The basis of the book now is on heavy matter, Everett Mitchell for farmers, ami some interviews liams. who was recently signed by new material like several of Bob lege dates on which you get to terhalter EmArcy as a soloist, has worked play, let’s say, two 45-minute sets, It’s good variety. quires a Brookraeyer’s originals and ar We’ve caught only snatche* of Bing Crosby’s new »how in which he with Getz before on iecords and rangements, and some contributions you do get some chance to warm accordam on the road (as has Isola). up. talk* about everything under the nun, which at times embrace» some ample, 1 by Phil Sunkel. Phil is the trumpe« relatneiy heavy pontificating for a crooner. What we heard was intelli "I have the band I want now,” player who has been writing and Agreement ground, affimis Stan. "It was when Tony gent, understandable, and provocative. That -ound* like a cover blurb Fishel tl playing for Dan Terry’s band. He “I agree with Brubeck, by the for a book, but maybe it should sound like that. joined us that the band seemed to writes wonderfully, and is going to way,” adds Getz, “that one loud also alw completely relax. I remember one do more for us In fact, I plan a On a recent Friday night we tuned in a radio disc jockey show on fresh ide guy in the front row in a club can NBC shortly after it had started. The dj was ribbing Pat Weaver, the night in Buffalo when everything whole date for Norgran on which ruin your whole night. Loud con orchestra begai to feel just right That s the weq] use nothing but Sunkel orig versation immediately raises the NBC president. He als > was ghing a minority report on modern jazz In cho, feeling we want to keep In this inalg and ai.rangements. dynamics of the music. You can’t He misses the melody. If you doi t quite comprehend the modernists, Winterhi band, everyone contributes some- .
Victor To 7 Million-Copy Records NEW YORK ONSTAGE: Gwen Verdun, who scored in Can-Can. will have the 8y Hannah Altbush for four weeks before it made any feminine lead in the new George Abbott musical, Damn Yankees, open New York — Although he noticeable noise on the cash reg ing May 5 at the 46th St. theater . . . Three lor Tonight, with the ut receives no gold disc when isters, but according to latest re- Champions Harry Belafonte, and the Voices of Walter Schumann, goes ports has been picking up heavy into the Music Box the week of March 21 . . . Eartha Kitt in »Irs. sales hit the million mark, the Patterson hits the road at the end of February . . Edith Piaf and her music director on a recording sales. ry a Winterhalter’s talent scout duties revue start a 12-week tour March 7 in San Francisco. w. It date deserves much of the credit keep him alert for new artists. He for its success. The most important has likes working with young, new tal ENTERTAINMEN-IN-THE-ROUND: Eddie Fisher definitely set for of these music alchemists, Hugo ent and feels that a continual ad large Winterhalter, celebrated his fifth London’s Palladium foi two weeks starting March 28. Johnnie Ray has wasn’t dition of new blood is a very im been booked into the Palladium April 26 also for a fortnight, and anniversary with RCA Victor Jan. portant pait of a record company’s 16. Danny Kaye may open there in April . . . Billy Eckstine’s first British operation He recently did a record concert of the new season will be at Leicester April 17 . . Ray An During that time, Winterhalter date with Victor’s newest additions, has provided lush musical back thony, after finishing his part in Daddy Long Legs with his band, goes the nine La Falce Brothers, and into Pink Tights as a single. Band reassembles and hits the one-niter grounds for no fewer than seven he’s very excited about them. gold records. circuit in the east April 9 . . . Joy Caylor and her all-girl orchestra “They have a great future,” he close at the Arcadia ballroom March 7 and then go into the United Four of these million-copy sellers says. were Eddie Fisher's including I States Naval Station in Bainbridge. Md., March 8-12 . . Joni James Need You Now. Two were recorded 'Anybody’s Guess* w ‘I sing Your Cheatin’ Heart in MGM’s film bio of Hank Williams . . . with Perry Como and one with the How long the trend in vocal Kitty Kallen’s screen debut will b( in The Second Greatest Sex, a west Ames Brothers. groups will lust ‘‘is anybody’s ern musical produced by Universal-International . . . Bill Haley and his guess," Hugo says. “Despite these Comets booked for a return date at Washington’s Casino Royal April Arrange» For Fiolier trends, however, recordings by all 25 for a week . . . Herb Ross, who devised Marguerite Piazza’s act at Winterhalter has done all of types of artists, vocal groups, and the Cotillion loom, is creating one for Frances Lungford. Fisher’s arranging and conducting good instrumentals are being pur on record dates since he’s been Hugo W intcrhiilter chased at the present time, und JAZZ: The music world was shocked and saddened at the sudden with Victor. He conducts on all there is no real predicting what death of Kai Winding’s wife, Marie, of a kidney ailment. There are dates for the Ames Brothers, as closely and tries to keep up with whatever seems to he the current the average person will buy.” • nree children . . . Woody Herman broke several attendance marks on look well a» on many Como sessions. In Born in Wilkes-Barre, Pa., he Saturday night at the Statler. Woody is in line as summer replacement addition to writing arrangements trend. .st in ■ Right now, ihythm and blues worked with small bands in New for Sid Caesar, and he also made ■ kinescope for a possible fall TV ouple and leading the orchestra, Winter York clubi and later joined several variety show on which Woodrow would be the permanent master of halter chooses material for the numbers are big in the populai nbo's field,” he explains, “just as country name bands, including Larry Clin ceremonies . . . Dan Terry has been rebooked into the Savoy for three artists, looks for new talent to re ton, Jack Jenny, and Raymond and western songs became pop hits weeks starting Feb 26, and from there the band is likely to move into cord, plans record sessions, and Scott. While with Scott, he stopped Birdland again . . . Sharkey Bon.ino followed Paul Rurbarin into Child’s often supervises record dates. a few years ago and then passed some pretty much out of the picture. playing and devoted all his time to Paramount Feb. 6 for four weeks. He’ll be succeeded by George Lewis The orchestral background he arranging. for six, and by Kid Ory for six in Ory’s first eastern engagement in provides differs with each artist. These trends usually don’t last pulls very long. Fortunately, ‘class’ mu He then worked with several a long time . . Junior Raglin has replaced Wendell Marshall as bassist mies, “I’m very much influenced by wiiat other bands as arranger, among with Duke Ellington. Junior was with the band before some years ago ever artist I’m assigned to,” Win sic—beautiful ballads and good in irson strumentals— is always in de them the Bradley-McKinley band, . . . Gerry Mulligan has become a regular panel member along with iews. terhalter says ‘‘Every artist re Vaughn Monroe, Claude Thornhill, Virginia Wicks on Leonard Feather’s weekly Platterbrains, Tuesday quires a different approach in mand.” Count Basie, Jimmy Dorsey, and Il l ake» I unger nights on the ABC network . . . Ruby Braff set to do a Bethlehem album b lu- accordance with his style. For ex Tommy Dorsey. on which he’ll play tunes recorded by Billie Holiday. He’ll be backed by voine ample, I would use more back A good ballad or instrumental, Winterhalter maintains, usually M ork» Radio Shows rhythm and a sax section, with arrangements t. Bob Wilber . . . George telle ground, heavier orchestration, for Wallington went into the Composer for two February weeks with Art ilurb Fisher than I would for Como. Pm takes longer to gain popularity, During the next few years, he but once it takes hold, it remains a arranged and conducted for several Taylor and bassist John Ore ... Andre Previn has left Victor for Decca also always on the lookout for . . . Lionel Hampton set to make a two-reel color film in France. w on fresh ideas and a new approach to hit longer than the gimmick aongs. radio shows and did free-lance ar , the orchestral background music.” As an example, he points to his ranging for record companies. A Tony Scott almost set to go into Minton’s after his three weeks with jazz, In choosing material for artists, recording of the Song of the Bare year with Columbia Records as mu Harry Belafonte at the Copacabana . . . Pee Wee Russell is back at lists, Winterhalter studies the market foot Contessa, which had been out sic director preceded his work with Condon’s. Teddie Roy is on intermission piano . . . Dorothy Donegan hose Victor. and Alex hallao are at the Embers, with Jack Elliot in charge on Sun ssed. “In spite of the trials and trib day nights . . . Pee Wee Erwin’s band is at Nick’s, and Wilbur de Paris id. Band Review illations,” Winterhalter says, "this has return« d to Ryan’s . . . Sarah Vaughan will appear three times on jires is the closest a musician can come the Ed Sullivan show. Her first shot is March 6. hink to u halfway normal life. After nned spending so much time traveling RECORDS, RADIO, AND TV: Decca has signed Billy Ward and His isn’t Herd Shows Versatility with bands, it’s a relief to be able Dominoes for both rhythm and blues and pops . . . Hamish Menzies was to stay in one town . . signed by Kapp records, and Arlyne Tye joined MGM . . . Louis Jordan but Before leaving to make a guest switched to Label “X” . . . Decca re-signed Janet Brace to a two-year ly to appearance on Fisher’s TV’ show, contract and Coral has renewed Teresn Brewer, Don Cornell, and the <1 of In Stand At Cafe Rouge Winterhalter pauses to make an McGuire Sisters ... Coral’s comedy kick continues as Bob Thiele signed New York—Woody Herman’s Third Herd, with several additional comment. “Someday,” he Hilly DeWolfe and Hermione Gingold . . . Gordon Jenkins has cut his ibmg says wistfully, “I hope to do more first sessions for Label . Coral will release a Lillian Roth EP i the personnel changes, came back to the spacious Cafe Rouge composing. I haven’t had much called, of course, I’ll Cry Tomorrow. own for the third time in a highly successful four-week stand that time to devote to it.” Victor Young wrote, published and recorded (for Decca) the theme indicated again why this band is the Ocean, Strange, and occasional for NBC-TV’s Medic . . ABC has signed Marion Colby of Pajama eton, able to work so steadily and for Game . . . Les Paul and Mary Ford begat- a twice-weekly Mutual radio so diversified a set of audiences. instrumentals like Early Autumn that are as satisfying to follow by serie ■ Feb. 16. Program • will be on Wednesdays and Fridays from , I’d Caught during the dinner hour, Sylvia Syms Inks 7:45 to 7:55 p.m. . . . Guild TV Films signed Ina Ray Hutton and her the band came on in muted taste, feet as by ear. The sections have a good, flowing blend, and the band orchestra to a 39-picture series. Guild already has Liberace, Florian moving easily through medleys of Pact With Decca Zabach. Frankie Laine, and Connie Haines. standards, several of which had pays careful attention to dynamics. quietly effective vocals by Lea The swinging beat is always there, Chicago — Jazz singer Sylvia Mathews and that ageless trouba and that’s all the better for the Syms has signed a three-year re CHICAGO dour, Mr. Herman. Woody’s sing dancing, because as Ralph Glea cording contract with Decca Rec ing sounds persuasive anywhere, son observed on Woody’s Capitol ords, which may begin glooming NITERY LIFERY: Josh White returns to the Bl ick Orchid on March LP, “the roots of jazz are in dance her for the popular market. It’s 1 for his third engagement in two years. This time it’s for four weeks; eady but Miss Mathews actually comes through better in the Cafe Rouge music,” and there is no reason why her first deal with a major label last visit he was held ovei for a total of eight . . . Helen Forrest and pop the two should be as separated in and calls foi 12 sides par year. the Goofers are breaking it up at the Chez Paree . . . Palmer House for kind of context than in a jazz hear ing. Her jazz stylings, as heard at so many jazz listeners’ thinking as The signing followed hard upon attraction is French chantootsie Genevieve until March 17, when Celeste Basin Street, are rather forced and they are. the pressing of her new album, Holm opens ... Al Morgan is current at the Cairo lounge . . . Roberts ?ned Ne* Men There's a Man in My Life, which Show loungt bowed on the southside recently with saxophonist Billy lusic undistinctive, but as a relatively straight singer of ballads for a As for the personnel changes, goes into release soon as the pre Williams, vibist Gus Chappell, and a seven piece ork . . Bob Hahn ican San Francisco drummer Herb Bar mier effort of Version Records. The is keyboarding at the Gaslight club’i Back Porch, and Buddy Charles, sing danemg-and-dining audience, she’s quite pleasant. man, who used to be with Dave new discery, incidentally, is owned Cal Bundy, and Barbara Austin are the mainstays of the Black Orchid d to Brubeck, has replaced Chuck by Sylvia’s manager, Pete Cam Junior room. Always Musical Flores, who preferred to remain eron, who says its intent is to > br The band, whether it’s quietly home on the coast. Tenorist Bill “produce LPs for the intime and I be playing for the 7 p.m. diners or Perkins has left to be with his esoteric market wherein feeling, TV & RADIO: Bandleader Frankie Masters, vho regularly works on ~e in opening up after the late evening wife, who is having a baby, and he mood, and spontaneity are of pri the Conrad Hilton bandstand, has been spelling Tom Duggan on WBKB CBS broadcast, is always musical. was replaced temporarily by Sandy mary importance." while the latter recovers from an operation . . . The song All of You is lam The early evening book is inevit Moss, a Chicagoan who has been banned from radio station WCFL for its suggestive lyric . . . Ha! ia rs, ably of less interest to jazz listen in Europe for the last few years Fredericks, a deejaj front KXOK it. St. Louis, is now doing two cross luce ers, but the frequent, softly stated and recorded in Paris with Henri the-board strips in Chicago on WAAF. jnes solos by Dick Collins, Nat Pierce, Renaud. As of this writing, a per NY Philharmonic ' Dick Kenney, und others in the manent replacement has not been JAZZ: Johnnie Pate trio is held over at the Streamliner, with vocalist i' of ••and are tasteful and worth care set. ated To Tour Europe impressionist Ann Henry featured . .. The Beehive has closed for ab> ut ful listening. On these sets, Wood} High-note specialist Bill Castag four weeks while owner Saul Tanenbaum vacations in Florida. The tod blows more alto than usual, and it nino has left the trumpet section, Tito New York—The New York Phil room is slated to reopen during Easter week with Paul Quinichette, fits in well in this part of the book. also to remain in California, and harmonic Symphony orchestra will who’s to be followed by the Cecil Young quartet on April 22 . . Jack For the dancers, the music is John Howell decided to stay in Chi tour Europe for the first time Teagarden is current at the Blue Note until March 9, alongside the just right as evidenced by the cago. Their chairs had also not since 1930 this September as part Blue Note Trio . . . Illinois Jacquet is doing a one-niter at the Trianon many couples on the flooi, ranging been definitely filled as of this re of a broad program for interna which recently switched from a ballroom to an auditorium operation. in age from youngsters to portly view, but Jerry LaFurn from Phil tional cultural exchange. executives who don’t want to know adelphia was temporarily in one Under the aegis of the American of from poll winners but are only con of them. National theater and Academy’s ASIDES: Reggie Levin, manager if Dave Garroway and Eddy How tte cerned about whether the band lays It is too soon to review the new International Exchange program, ard, died of a heart attack here on Jan. 30 . . . Bob Weems has left the down a beat they can follow with Chicago Willard Alexander bureau to rejoin GAC in Cincinnati . . . on’s men, particularly in the course of which operates, in part with gov out worrying. And the more music a Cafe Rouge stay where the en ernment support, America’s oldest Dan Belloc ork playing the Chevy Chase country club on Saturdays Doc ally minded dancers are inevitably and the Holiday club Sundays . . . Buddy Morena opens the O’Henry lerv semble takes -pecial precedence orchestra will open its tour ut the ' well served, because Woody has over individual soloist. But with Edinburgh festival Sept- 5. Six ballroom on March 3 for four weeks . . Ernie Rudy follows Chuck «rb Foster’s present Aragon stint on March 15 for three weeks . . . Dane rity selected resilient standards like regard to the Third Herd as i concerts will hi given there, with That Old Feeling, The Very whole, this band can play any kind music director Dimitri Mitropoulos McFarlin is the piar <> man at the New Rocket club ... A cut-rate ies; Thought of You, I've Got the World version of South Pacific opens at the Opera House on March 6. with n so, of date—with warm, swinging con and guests Guido Cantelli and on a String, ill of Me, I Only viction. George Szell «haring conducting Iva Withers and Allen Gerrard starring. Have Eyes fur You, How Deep Is assignments. (Turn to Page 25) I» O * 5 BEIT March 9, 1955 March alxiut Brultcck from th< very l»e- sistentb superior Brubeck s ish Things (in fantasy s LP >f ginning, long before the Columbia quai-tet as an integrated, continual Jazz at Oberlin) is one of the high sales figures and the Time cover. ly evolving jazz unit that “com point • of modern jazz on reco’d. The COUNTERPOINT And the charge that critics attack bines preconceived original ideas And I remember even more stim ■■■ By Nat Hentoff those musicians who are making with spontaneity of performance.” ulating, and often elating, musical experience of this kind from listen New York—Before beginning a two-part survey of jazz money just because they are mak Th« I hupping Block ing money is pretty ridiculous. ing to Bi-ubeck in person. Not al We in Japan, I’d like to join the fray centering on the craggy I agree, too, that Brubeck on oc ways. Brubeck in person is prob countenance of Dave Brubeck. Bill Simon and Wilder Hob Shearina An Example casions does appear to confuse the ably the most uneven musician in son (in The Saturday Review)^ When a Shearing, for example, pian< with a chopping block. (I jazz. There are nights when he John Wilson (in High Fidelity} cians put Brubeck down, and they is written down, it’s not because was distressed that he referred to sounds like those records of his and Leonard Feather and Jack put him down hard. In fact, just he’s making a lot of bread; it’s be his recent Columbia i ecording of that are made in a studio, and few Tracy (in the last issue of Down about the only three subjects on cause his music has become unim On the Alatna as his best so far things land on the ear more Beat), with varying degrees of which almost all musicians agree aginative and routine. Similarly, on records when it was actually weightily. But when he’s right, Holl severity, have criticized Brubeck as is that Brubeck doesn’t make it the criticisms of Brubeck are based more implacable than inventive.) Brubeck becomes one of the most not a a jazz pianist and leader. musically, that the Modern Jazz on musical grounds, not on evalua I agree further that, from the creatively adventurous individual on the Quartet does, and that the pres tion of his bank account. perspective of the mainstream of ists in all modern music. The consensus seems to be that longu, ence of jazz critics in this already As a matter of fact, one of the azz tradition, Paul Desmond is the And that’s precisely the point Brubeck is considerably overrated, . . thinks, that “the truest jazz talent uld it" (west coast jazz); “with the time. rhythm and blues, contending it jute exception of Brubeek and 4. In 1944, Norman Granz—who does not reach the Negro market. han Baker, all the modern sounds out is in fact <>ne of those rare birds, His station is backing him . . . him west are being made by eastern a nativ. Californian—began Jazz Stephen Longstreet, top-rung musicians who moved there.” at the Philharmonic in L. A.' Phil screen, television, and magazine This boy hasn’t been trying to harmonic auditorium. writer, at work on a jazz tome, write about jazz very long ot he \.nd then there’s another native A New J az» History . . . The mel would know that no one evei has Californian, name of Stan Kenton. ody to Tonight, My Love, coming come up with a definition of jazz, Incidentally, Perlongo, in “prov up fast via Karen Chandler’s Cora' and or any phase of it, that is satis ing” that “West Coast Jazz Is No cutting, was originally A Place in factory And he apparently doesn’t where” came up with what might the Sun, written as a promotion know' that in California a genuine b- the nearest thing anyone ever for the movie of the same name native is a rare bird indeed. will to a “definition”: . . . Charlie Barnet, week-ending at the Trianon this typing with a Without trying t> prove or dis “The melting pot of jazz . . siz not prove the existence of a “west coast big band reminiscent . i his Chero CHET BAKER, u principal in the “is-there-or-isn't-lhere-west-coait- zling concoction of raucous jazz kee band, has a new RCA Victor jau” debate that’« < urrently going un, and is discussed in the adjoining school of jazz,” it’s interesting to (McNeely), classical jazz (Bru- jazz recall some of the important de- pact. There’s a feeling here that story, appeared on Leigh Kamman’s WOV (New York) show recently to b<
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'arnniy an. Is 'Kenton Era' End For Stan? Violet. If she felt any immediate that now seem almost pallid, yet rush of emotion on meeting Stan, were “way out” in many respects she held it calmly in reserve." at the time. Get the idea? Later comes the '44 band, with The i In the prologue, backed by frag saxist Dave Matthews handling recor ments of some of the best-known most the sol»«, and the band show recorded works of his, Stan offers ing flashes of what was to become revie' not only information about his the Vido Mubwdominiited, brais to be < orchestras and some of the prob ing group of the Artistry Jumps figurei lems they faced, but he also pretty and Painted Rhythm year to come. Ameri well delineates his philosophy of Then Kai Winding joined the bund, and Ray Wetzel, and Shelly By JACK TRACY he has Overemphaein Cited Manne, and Milt BemharL and Here is the 14-year story of the Stan Kenton orchestra, as Bob Cooper, and Laurindo Almei of fol toid through the music itself, through the printed word, and tends to overemphasize the da And Eddit Safranski stayed equal! hard knocks und adversities he tracto through Kenton’s spoken words in a lengthy prologue. on, und so did Boots Mussulli, and faced, and the chances he look, Bec To look at them one at a time, Pete Rugolo took over as chief ar but it also must be remembered ranger. copy, the fi’St is always interesting and if। Kenton saw proof» of it before that he had the guts to take out Great Daya octi vil often absorbing; the second bor-1 it। went to press, he can have only on tout a fantastically expensive Some ders on the meiod lama tic; the third These were perhaps the Kenton himself to blame when the razz- jazr orchestra, strings and all, at gimei offers proposals that are provoca orchestra’s grt at< et days in terms ings start a time when jazz was having an th»m, tive and subject to some lengthy Passages like this one abound. inordinately rough go of it. of popularity and financial success. discussion. Then came the tiredness, and Stan “In the quiet loneliness, he some And though it waa hept discreet WELL-REMEMBERED incident sic he The entire production is certainly quit. times felt this strong, deep peace ly quiet at the time, I don’t think tradie the handsomest and most striking a rrangement certainty. it’s telling tales out of school now Next step was “Innovations,” in one of its kind ye* to be issued drummer Shelly Manne left ihr me concert, vour orcneaiiu Foil Often, it seemed to him, he heard, to mention that a source close to bend complaining that it waa “like Previous package- of this sort have saw, felt too much. The instru Stan at that time estimated the that had 16 (count ’em) strings, all mi been put out by RCA (the two chopping wood" to play for it. He Fiench horns, and a whole gang at on ment of his own sensitivity re first-yeai loss of “Innovations in rejoined aoon after, and this gag Glenn Miller Limited Editions), corded toe much; the noises, the Modern Music" at close- to $20.000. of other musicians. That band is Fro Decca (the Bing Crosby summa shot, which appeared on represented here by Veraderv, voices, and their revealing over If he appears dogmatic in cer Beat cover, waa the result. Micha tion), and Norman Grant (Jazz tones, the light on the concrete and tain of his views you might con Amazonia, Salute, Coop’t Solo, which Scene and the one on Art Tatum), glass—the awareness of them and sider i-hat so are many other lead Ennui, and Samana. from but they can’t compare to this one the । ashing tensions inside. It ers -but in private and not for that this album “wasn’t deserved” It is music which too often for in cover design or in the integra seemed as if a complex net of cir and that there are a great many gets that jazz had roots elsewhere public digestion. Lev tion of art work, photos, and cuits within him was overwhelmed The entire prologue certainly is other bands that should have been than in Stravinsky and Prokofieff. with the impulses it recorded.” in keeping w ith Kenton’s past his so honored before Stan—like Basie, And some of the arrangers forgot Beautifully laid out and crammed And, “ At Balboa one evening . . . tory-articulate (if sometimes ver Ellington, Herman, et al. I say, I that classically trained string sec ith photo? of Kenton Stan saw a tall, attractive, blonde bose), ambitious, and provocative. nuts! tions don’t necessarily swing just units and all th* important side girl. The girl seemed to have an And perhaps you will be as in No matter what the ultimate ar because jazz arrangements are men and personalities who have intensity, an intelligence She was terested one statement, as I tistic merit, records are produced placed before them, and it all got been associated with him, it also cool, still, appraising. There was was, that "Eager Beaver maybe by recording companies for only . a little heavy. contains complete personnel list one reason—to make money. This something about her that touched was our most important contribu The Beat? ings on each of the production’s tion to jazz in that period (1943).” one is going to make a lot of it. him. He knew there was a feel In 1952 came what many con 47 tunes. was of the swing genre, Undoubtedly it would b> great to ing between them even though she Beaver sider the best Kenton -.gamzution had not given any outward indi but it was not to be long before have assembled such iedications to the Count, the Duke, and the ever then playing Swing Hower, Only the long, overwritten cation. T> Stan, there was nothing Kenton drifted and You Go to My Head, Baa-Too-Kee, biography of Stan, written by Bud more positive than the inner evi- to what some persons termed pre- Wood. But Capitol alone possesses the and Stella by Starlight), With Bill Freeman, does it fall down, and tentir usness, others called experi dence The girl' Holman, Richie Kamuca, and Lee mental jazz sounds. unique advantage of having waxed Konitz in «he mixes; Conte Can At any rate, thi statement might a major jazz band for all but doli, Buddy Childers, and May evoke a spirited discussion if one nine sides of its entire, 14-year nard Ferguson among the tram were to add that perhaps Stan recording career. And of having still does dig swinging jazz the air shots and rehearsal tapi s of peters; Frank Rosolino and Bob Burgess offering t ip-drawer tron most but saw an excellent ippor- that band to draw from in order that it might issue a collection boneI___ ’___, and Don Bagley, Sal tunity to couple his dominating of this size in which none of the Salvador, and Stan Levey heading personality with role f avant gar side» has been released before up the rhythm section,-it often dist to become the leader of a The music? If you like jazz, achieved some gn at peaks. The ar loyal movement that turned out rangements fiom Holman and Bill in large segments to support him you’ll have to like a good snare Russo rounded it all out. and cheer him on. you like Kenton you’ll deeply enjoy nil of it. Dur An extended solo from Zoot enthu Complaint»' ng the early period, there’s Chico Sims, called Zoot, winds up the Mayu A gi-eat many persons un Alvarez' tasty, pretty trumpet solo package on a pulsating rote, save the It doubtedly are going to complain work to enhance arrangements (ixmlinurd on Neal Page)
ON THI SET of TM of a Lady, back in 1946. a beaming Stan Kai bill russo lua and wife Viol« joined with Jinx Falkenberg (left) to chat about the film and Stan’s then-bloeMMning career. composer-arranger for the stan kenton orchestra
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for the epilogue, devoted mainly ÍWÍST**"50" to the Kenton theme and a few more worda from Stan. I« y*t ipects When Barry Ulanov «»rote a Capitol has just released a documentary package called^ What about fiddles playing jazs? biography of Duke Ellington some with The Kenton Era, a collection of four 12" LPs that include Definitely not. They can’t get the years back, Duke was unhappy dling feel. about it, mainly because, as he put ihow- recordings from his earliest days to the present They are What about big atnng aection»? it, “I’m not finished yet. Wait till reviewed on this page. In those 14 years, Kenton has proved A thrilling aound, but not for I quit before you do my story.” This package ■ called The Ken iruis- io be one of the most controversial* jazz or jazz bands. umps slxwly merging with what we al Whst about Benny Goodman? ton Era. Though it obviously was figures in the whole history of ■ issued for the loot that can be American popular music. 1ways have called classical music? Benny is definitely finished. He I the Kenton: Jazz will dominate mid refuses to progress . . . TIkAiMd garnered from such productions, Ihelly By his words, actions, and music, swallow up classical as we know it How about Glenn Miller and it also implies that Stan figures and he has created a fiercely loyal group at present in this country. By that Tex Beneke? he has about had it as tne leader Jasei- of followers, as well as an almost I. mean that there will definitely 1 was never a Miller fan. I un STAR of an organization that must de tayed equally vociferous group of de- be, a merger of the elements found derstand a lot of the thinga that pend upon months of travel and , and tractors. in our music and that scored by Glenn did. He certainly waa the one-niters for its existence. Because he is always such good such men as Stravinsky, Prokofieff, eleven*-t leader the busineaa ever Despite the assertion that he copy, Down Beat han followed his andi Hindemith . . . had Glenn was level-headed KEHTOn “looks forward enthusiastically” activities closely over the yiars. Do you have a swing band? and a good businessman. He was to assembling new musicians for enton Some of his quotes have started ar- No, because swing is dead, gone, a credit to the music business. He new ventures, and despite the fact gu menta, have continued finished. died on top while he was loved, that he is at this moment reor them, some have been logical and Is your band good for dancing? but I disagree that he would have ganizing for a spring tour, I tend Stan meaningful atatementa for a mu- Definitely not_ . . The greatest remained king. Miller’s band was to go along with the implication sic he believes in, some have con- dance bam in the country ia Lom- not a jazz band ever, and that JUlHHRISbÆ to be fouu«l in the title. string section lie had during the tradicted »ne* iw made earlier. bardo. He’s studied tempos and M fete farad * I- 2- F * New Dewlion knows them cold. I myself can war was used very, very badly. estra Following are a few of them, Implication being that, save for ings, all made to Down Beat reporters dance like a demon to Lombardo. Beneke is the same thing without What ia the biggeat hindrance Miller's ability. sporadic appearances and short gang st one time or another tours, Stan Kenton with this al nd is to musical development? In Down Beat, Jtm. 27, 1950, From a frank interview with The men wi> > make money from Stan was quoted as saying: SIGNS LIKE THIS bum 1« announcing his retirement dero, Michael Levin in January, 1948, in from bandleader chores and is go Solo, music. The bookers, the promoters, “Everything that’s been done uncommon in the Kenton heyday. which Stan discussed everything the dance hall owners who try to in jazz in the lust 40 years is This sellout concert took place at ing to devote his time, and energy, from Lombardo to Stravinsky, make everything conform to rule finished. Musicians have been play ( arnegie Hall in thr nut long and to developing eome these statements: and rote, and try to keep musi ing the same things over and over before Stan recording, management, and pub ehere lishing interests. »hett Levin: Do you think that jazz cians from making jazz progress again, sometimes dressing them orgot ar a tradition in thia country is aa an art. up a little to to try to make them This album does an excellent aound a little different I guess day, his band wouldn’t still job of portraying the evolution of we went further out on the limb sounding the way it did seven an orchestra in its search for dis than anyone, but bancully it wa* eight years ago.' tinction. But I think it already has still the same old thing. From the same story, as told passed its peak at popularity and “People have to have someth.ng by the Down Beat reporter: may never again issemble at one fresh given to them now. Why strumentation of the Kenton time the host of jazzmen it had at should they have to choose between cert band will be 10 violins, three one time. I think Stan thinks so, listening to some old Mozart or violas, three cellos, two French too. a tion having their ears blown off at horns, tuba, string bass, five reeds, Hence, The Kenton Era. Bop City? I think the answer is five trumpets, five trombones, -Km, something between the old legiti piano, guitar, drums, and conga.” i Bill mate music and popular music . . . On April 20, 1951, in an inter where it started—but it’a in a I Lee You know, the mu-iic c reated in view after windup of first “Innova different place on the road, a place Can this field can make Stravinsky and tions Modern Music” tour: that’s farther ahead than it was May- those boys sound awful feeble.” “We’re not sure just where we’re originally. Unless, of course, you’re On May 19, 1950: going—but we know we’re going going backwards. And we’re not Bob “Everybody has picked up the somewhere. This is the way we gmng backwards, no matter what Glenn Miller style as a safe bet. want to play—the kind of music nappena But how long can that Miller we want to play—and that's just “Jazz will never die. iding ghost last? These band* that are about all there ia to it . . . may have to go underground foi often using Glenn’s style aren't creating “I am tired about hearing this awhile, back into the dives and anything for tncmselvea. Pretty stuff about ‘everything moves in beer joints where it started. But I Bill soon they’re going to come to the cycles.’ The -inly kind of cycle I A LOOK AT a segment of the 1952 Kenton band would reveal this it will never die. Musicians will end of that street, and then what believe in is the cycle described by keep it alive, and someday it will Zoot enlhuaiantic group wailing awuy. On drum«, Shelly Manne; trumpets— do they do? a wheel supporting a moving ob emerge again and be accepted is Maynard Ferguson, the late Ray Wetael, and Shorty Rogers; mxisi at “Miller was ject When a portion of the wheel what it is—something really big thr lower right ia Bob Cowper. sive musician. makes a complete turn, it’s back and important in American cul ture.” Basie Hires SLinGERLflnn radio kings New Drummer New York — Drummer Sonny Payne has permanently replace.’ Gue Johnson in the Count Basie band- and blues and ballad singer Joe Williams has been added Payne, the son of veteran drummer Chris Columbus, formerly worked featured with with Erskine Hawkins und Earl Bostic. Charlie Ventura Basie trumpeter Joe Newman meanwhile recently cut two more albums under his own name (his Sonny has used SLINGERLAND first two were for the Vanguard and Storyville labels). In a second Radio King Drums lor his entire session for Storyville, Joe used ten professional career. "They're tops or Frank Foster, trombonist Billy Byers, altoist Gene Quill, Freddie with me", Sonny boosts; "I'' Greene, Milt Hinton, Osie Johnson, and John Silver on piaro Latter is SLINGERLAND RIM other makes, but they |ust better known by another last name SHOT COUNU »MOO • and is music director of a leading thr*« yoa **• bat* (Hck pratacHaa aad don't have the tone and response jazz chamber music unit. Newman •ha stroaqa** hoops also did i Victor session with that my Radio Kings have. Byers, Al Cohn, Greene, Johnson. Hinton, and pianist Nat Pierce.
New Mehegon Album PLEASE SEND ME YOUR LATEST CATALOG New York — Ozzie Cadena, jazz a&r head for Savoy Records, has recorded a John Mehegan album on which Mehegan is accompanied by Addrau Charlie Mingus and Kenny Clarke. Pianist Wally Cirillo trill be fea tured on another LP with the back State. ing of Teo Macero, Mingus, and Clarke A second wet under the Mail fo SLINGERLAND DRUM CO leadership of Clarke is in the SLINGERLAND DRUM CO works, and alse being planned is 1323 laid«« Ava, Chicago II. (14) Percy Heath’s first dbum under his own name. March 9, 1955 Marci FEATHER'S NEST Hammond Organ The Musical Theater èy Leonard Feather Multitracks Due Chicago — Cardinal Records has New York—Enough time has elapsed since the publication signed an advertising agency exec Three For Tonight; Music Holl, Cleveland of the last Down Beat reader’s poll results to enable us to sit utive to cut multitrack Hammond Cleveland — Paul Gregory and^ ~ ;——— ——------——- — back and take a dispassionate view of the trends that dis- organ recordings, miicl in the gui Charle:- Laughton have u winning including Xoah and Take tar manner of Le? Paul and Mary team in the unique Three for To- "'V Mother Home to his rollicking this 1 I compared the standings of yester winner. ran 13th among what then Ford. night if the packed Cleveland Mu- * -a.u- uncei year’s poll winners with their pres was known as the sweet bands list Hack Swam is the Sarasota, Fla., sic hall it any criteria. The Voice« kept pace and added popuh ent-day status. This year the same ing. Ella Fitzgerald ran llth, Bill ad man who first did the double An aura of excitement pervaded immeasurably in choregraphy as rbvthi rompm»’.! makes even more start - Harns was America’s No. 9 trom tracking, in servicing one of his the audience as the sellout crowd well as song. They carried their for 6 bomst, Fhp Phillips made eighth accounts, to demonstrate the num if 3,000 watched this un usual song- jwr props and somehow created a waned ?♦ Uw v Mtn announced n the place on tenor. ber of things that could be done dan
you lift your Leblanc with confidence, assured that this "trumpet • ORCHESTRATIONS man's trumpet” offers you the freedom of expression responsive- ness and control which your artistry demands. You thrill again to this • COMBO ORKS new range, this new accuracy and flexibility of scale. And hour after • BAND MUSIC hour, there is that satisfying give and take . . . the inspiration to play • Musical Supplies and sound your very best. Here, at last, is a peerless instrument worthy For Free Catalog of your confidence. Visit your Leblanc dealer and discover for yourself Write to: this new dimension in artistic expression. TERMINAL MUSICAL SUPPLY. Inc. Dept. DB, f 13 W. 48 St.. R. Y. 15. R. Y. 1955 March 9t 1955 DOW N BEA T Bird On The Wing New York—Charlie Parker has LATIN AMERICANA Rhythm And Blues Notes hit the road as & single with, in most cases, the clubs he plays sup - By Oliver Berliner . — — । ir - — । By Ruth Cage plying the sidemcn during his stay. After brief engagements in Detroit, Hollywood—Ever since the first rhumba was played in New York—Working for 52 days straight may appear to Chicago, and Detroit again, Charlie Take be viewed as a harrowing experience even under sedentary wan scheduled to go into the Blue icking this country, the status of Latin American music has been conditions. Add the discomforts of daily travel and the menus Note in Philadelphia for a week, uncertain. Take the conga, for example; it attained great starting Feb. 21. He also ha. a added popularity because it was very « of “one-arm” cafes, and the ex-«" pealed consistently tu basically two week at Storyville in Boston, be hy aa rhythmic aud an easy step. But pcrience might be unbearable. De They’re a part of the Big Ten ginning March 10. their foi aome reason its popularity minority groups the very low in spite such a schedule though, a jRhythm and Blues Show of ’55, the ited a waned and the dance disappeared. come persons and the very wealthy bunch of r&b stars seem not too
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Q Send me the big WFL catalog free! DB 9 I □ Enclosed is Dime for Buddy Rich 8 x 10* photo (wrap money in paper or pmte on coupon). O Herewith ($3)forRudimental Drum Record No 1 e. betfot > et ter Be, ee* JiM&U GUIM drum co Name S BUYERS LIST Mb yoebowno- WFL w r I ♦ e • WS... . r. - «sil - ■— 1728 N. Damen Ave., Chicago 47, III. Address City .State. I, Pmed Ridg«, N. Y. Il U W N BEAT March 9, 195S Marci good as dance fare can get, and Woody Herman ody is ha me t ie cmtributions from Powell and ★ Braff on Woodside are most listen * My Sin h F«»u Top Disc imitât able. Benny sounds splendid, as ** Have It 1 our W ay 61334 ever, though a bit under-recorded. Backed by a group of girl sing (Capitol F-3043) ers called the Allen Sisters, Woody has (1) a rhythm and blues clunk er ind (2) a western-style ditty Helen Grayco to try to push into the best-seller V »------—------*** Say the Word ranks. Neither one appears to be a Thi but Jeff must watch his diction, bba Please Don’t Freese very good prospect. The band isn’t share Record especially on the s’s which are so Helen has a clean, buoyant toice along this trip (Capitol F-3012) gets t sharp they almost whistle. (Decca that is pleasing to the ear. She’s work Ratings 9-29405) due to make the grade sooner or LeRoy Holmes lacklu later, und these tunes forecast possi! Popular record» are rated
:lass Gretsch Spotlight List Price Our Prica . Be Chef Baker Sepfv* Pac. 9 & 15 $3.85 $2.39 side Count Basie and his Orch. Clef 120 3.98 2.4« nited Louie Bellton—Amazing Artistry Nor. 7 198 2.48 "That great Gretsch sound fully 1.84 nilar All Earl Bostic 2.98 and All Dave Brubeck Fantasy 3.85 2.39 draws rave of poll winning Don Byes—Laura Nor. 12 3.98 2.48 All Miles Davis Pres. 3.85 2.39 All Stan Getz Rf.-Nor.-Pre*.-Merc. 3.98 2.48 drum star, Max Roach Johnny Hodges Nor. 3.98 2.48 Milt Jackson—Wizard of Vibes B. N. 3.98 2.48 Jazz At The Philharmonic Clef 3.98 2.48 Lee Konitz—Originalle Roost 3.85 2.39 All Tifo Puente Tico 3.85 2.39 a lot All Tito Rodriguez Tico 3.85 2.39 rade, 3.85 2.39 eggy All Joe Loco Tico All Thelonious Monk Pres. 3.85 239 All Gerry Mulligan P J.-Cap. 3.85 239 tune All Charlie Parker Clef 3.98 2.49 All Oscar Peterson Clef 3.98 2.49 All Bud Powell Roost 3.98 2.49 All George Shearing MGM 2.98 1.84 All Johnny Smith Roost 3.85 239 All Sonny Stiff Rt.-Pres. 3.85 239 vend All BiHy Taylor Rt.-Prcs. 3.85 239 pace how MAKE CHECKS PAYABLE TO •inga Gon- side, 38% NEL-KAYE RECORDS INC. 1404 York Ave.. N. Y. 28, N. Y. ulate I am endoting *10.00 ehack or money order for I yeer membonhip Sava many, many f dollars on each order through in the NEL KAYE RECORD CLUB of the YEAR out the yaar. Those specie! dealer discount prices □ 10" Long Ploying Record of my choice will be tent out upon ere availeble to you for loss then *1.00 per month. receipt of my membership fee. Mat Roach and hit Gretsch Rm idkaUcr* Mamben of NAME______MAX ROACH, again a high-ranking favorite in both Down Beat and Metro the dub ar« entitled to purchase throughout the ADDRESS______boom poll«, i. winning new laurels as featured drummer in the movie hit, year any amount or typo of records of their own twr CITY.______-______“Carmen Jones.* Also earn, high praise for his exciting new EMARCY et a choice. No order too large or too smell. Smell recordings. Max Roach and Clifford Brown,” Vols. 1 and 2. Like other lop charge lor pottage end handling. My FREE record choice Is. winner- in the popularity polls. Max says, “Gretsch Broadkasters, greate-t feart drums I ever owned Try them yourself at your Gretsch dealer, or write for il of the I set new catalog of Gretsch drum outfits. Addres-: Flip Gretsch. Dept. anjo Mel DB 3955, 60 Broadway. Brooklyn 11. N.Y. y D OWN BEAT March 9, 1955 Mai design” never got off the wishing coast last fall, this wailing session tion and for Miles, who blows with board. And if Mr. Camp wanta to includes three of its members. Be imaginative and tonal style — a exercise his sensitivity construc sides Kenny, there’s Percy Heath style unmistakably and innuential- tively, he might omit the vocal on bass and Milt Jackson on vibes ly his own. A very attractive cover from future performances of Black (designated here only by his nick design. (Blue Note BLP 5040) BtAT and Blue. Neither white nor Negro name, Bags). Gerald Wiggins in on musicians take kindly to its Uncle piano; Frank Morgan, alto, and Dorothy Donegan Tom implications. Recording qual Walter Benton, tenor. Kenny wrote Up a Lazy River; I Can't Give ity is good. (Cook 12" LP 1087) the first and third; collaborated You Anything But Love; Dancing with Wiggins on the second; and on the Ceiling; Happinate 1» ■ All ian record» are reviewed by Nat Benioff, except thoae initialed Serge Chaloff Eddie Beal composed Skoot. Every Thing Called Joe; September Song; by Jack Tracy. Rating: ***** Excellent, *"*** Very Good, *** Good. The Fable of Mabel; Sherry; one but Benton is excellent. Benton St. Louis Bluet; I Got a Kick out ** Fair, ★ Poor. Slam; A Salute to Tiny; Eenie swings, but his ideas and tone lack of t ou Svend kamu«»en Re«l ( lamp Meenie Minor Mode; Let'» Jump individual distinction. Clarke, Rating: Man I Love; Ritual in Haiti; Rating: *■*♦ Heath, and Jackson play brilliantly Charley, My Boy; Beb u p- Miss Donegan, who is a recur Caravan; Night and Day; Body and The former Woody Herman bari and Morgan, as indicated last ring attraction at New York’s Woogie; 1« Sir, That', My Baby!; Soul; Black and Blue; 1 Shout tone expert heads a group of Bos issue, is one of the most exciting Doctor, Lawyer, Indian Chief; The Embers and other of the more pros When Fm Sad . . . Bluet; Third ton modernists of whom two of the new altoists. perous rooms around the country, Woody Woodpecker Song; Civili Man Theme; Summer Nights; Blue (trumpeter Herb Pomeroy and Why Frank Morgan isn’t used zation; St. Loait Bluet; Lonesome has been widely praised by such Skies; Sweet Lorraine; Amor; Little altoist Charlie Mariano) have be much more often on the innumer diverse experts as Claudia Cassidy, Rood Coquette; Time on My Handl come nationally known as a result able west coast sessions is difficult Rating: *** Time, Louella Parsons, and Jo Rating; ♦♦ of their work during the last Stan to understand. This is not, how Jones. This is a dissent. Angel’a entry into the jazz lista Emory Cook of the Cook Labora Kenton tour. Pomeroy, who's cur ever, as the notes say, his record She does swing in a manner more begin» in an amiably unorthodox tories has a commendably irrever rently featured with the Jazz ing debut. He made a Prestige EP barrelhouse than modern, but her fashion with a set by swinging vio ent liking for off-beat repertoire, as Workshop unit at the Stable in with Teddy Charles (1307) and he ability to build inventively tasteful linist Asmussen and “his un- has been noted on these pages be Boston, also worked with Lionel is one of the four saxophones on conceptions of standards is mini meiancholy Danes,” recorded from fore, but his ear for jazz is more Hampton as did pianist Dick the recent Lyle Murphy LP for mal. She apparently impresses 1949-’52. All these decisive Danes well-intentioned than skilled. This Twardzik. Also on hand are Vardi Gene Norman. None of the origi audiences by her drive and a degree —vibist-pianist Max Leth; electric is one of a series of LPs by a Cook Haritounian (tenor); Nick Capa- nals is more than a framework of technical facility. Or as Louella guitarist Jorgen Ingmann; acous “find,” one Red Camp, a Texas zutto (trumpet); Gene DiStacnio for improvisational blowing, and put it, “How that gal can play the tical guitarist-clarinetist Svend pianist by way of New York. This (trombone); Ray Oliveri (bass); except for Benton, the blowing is a piano and keep time with her feet Hauberg; drummer Erik Frederik particular set is called Camp In and Jimmy Zitano (drums). Twar gas all through. Kenny was his simultaneously.” There’s a little sen; alternating bassists Borge ventions : Bold New Design for dzik wrote the first; Mariano com own recording director on this one, more to it than that, Louella, as Ring, Poul Gregersen, Leif Sjo Jazz Piano and thereby further posed the second, third and fifth; though Ozzie Cadena helped cut you may find out when next you berg—play relaxedly well. Particu tries to create a musically unsup Pomeroy did the fourth, and the on long distance phone. Dig Mor hear John Lewis, Mary Lou Wil larly impressive is bassist Ring, ported myth that Mr. Camp is a last number is a riff-tune by Al gan; this is a new star with au liams, or Bud Powell. and the others, I expect, would be man full of bold, roving musical Killian. thority. (Savoy LP MG-15051) Her able (unbilled) associates in if they played more. integrity who DARES to experi The lead work, Fable, is a the album are, I think, bassist Aa What holds down the jazz rating ment and who plays from the bot “satirical jazz legend” of mordant Miles Davis, Vol. 3 ron Beil and drummer Kelly Mar —though not the enjoyment of the tom of his SOUL (capitals are un- parody interest, Bounding a bit like Take-Off; It Never Entered My tin. They do the best they can, but set—is the time spent on enter solicitedly mine.) Integrity he may an excerpt from a 1955 Three Pen Mind; Well, You Needn't; Lazy they can't give Miss Donegan the taining by these volatile souls. have and soul he may have, but a ny Opera. Sherry is an arresting Susan; Wierdo; The Leap thing she most lacks from a jazz Their close harmony singing, as creative musician Mr. Camp is not, short piece of linear writing played Rating: ***★ perspective—a style and resource George Simon accurately notes, is so that musically, the first two by the horns in ensemble without In this recital, Miles is excel fully musical imagination of her often reminiscent of the Rhythm qualities are laudable but of no rhythm section. Slam is also indic lently accompanied by Horace Sil own. She’s a pro, but nowhere near Boys and the Lunceford trio, and applicable point here. ative of Mariano’s writing poten ver, Percy Heath, ana Art Blakey. a major jazz talent Second and Asmussen’s solo vocalizing has a Camp plays with a degree of tial and features particularly good The first and last three originals third title are acrambled on the breathily rhythmic lift of great skill and some odd, often pleasant, solo work by Mariano and Pom are by Miles. One of the two best first side’s label, incidentally. (Ju* charm. But there’s so much cir technical flourishes of his own, but eroy. Salute and Eenie are stiffly originals of the set, however, is bilee IJMl) cular-bar-type gagging, sound ef compared to Bud Powell, Mary Lou written, especially the latter. Jump Thelonious Monk’s characteristical fects, and occasionally weak basic Williams or newcomers like Wyn is freer with the same two soloists ly quizzical Well, You Needn't. The Jon Eardley material that it’s hard to rate the ton Kelly and Randy Weston, standing out as they do on the LP Rodgers and Hart Mind is taken album on this page But since Camp is a peripheral party-pianist, as a whole. Fourth and fifth num slowly with a deliberate simplicity Ike and Glatt; Indian Spring; what jazz does break through is nice to have around in the back bers lower the rating. Chaloff him that is somewhat more stolid than Black; Gloss fresh and tasty, the set is recom ground but hardly worth all this self, while adequate, is capable of lyrical. The other four line-patterns Rating. ♦♦★* mended with the hope that next promotion as the Ernest Heming better aolos. (Storyville IP 317) are good vehicles for extended vari Another valuable addition to time around, the Danes will be less way of the piano. Just as he’s ation by Miles, particularly the Bob Weinstock’s New Jazs series, manic and more musical. Devotees fooled around on the harpsichord Kenny Clarke haunting, blues-filled Wierdo. trumpeter Eardley was most re of Asmussen—and I’ve become one on other LPs, so here he plays a Strollin; Sonor; Bluet Mood; It would have helped to further cently with Gerry Mulligan and —will find an earlier album of his duet with a record by Haitian Skoot sustain the interest of the date if made his record debut on an earlier available on Brunswick LP BL drummer Tiroro and some duets Rating: **** there had been at least one other New Jazz set with Phil Woods (LP 58051. Recording here is good. with zitherist Ruth Welcome. It Made in Hollywood while the horn, but the rating remains high 1104). Jon’s associates on this al- (Ansel LP 60000) doesn’t help. dad. This “bold new Modern Jazz Quartet was on thej for Jhe strongly alive rhythm sec- (Turn to Page 14)
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HIS FIRST JAZZ CONCERT ALBUM A FOLIO OF PHOTOS Recorded Live at SHRINK AUDITORIUM In Los Angelos
ON BOTH
IQUVLONG PLAY 2-12" RECORDS STAN GETZ IN A BOX, CELLOPHANE WRAPPED INCLUDED IN EACH ALBUM MGN- 2000 PRICE EXTENDED¡¡006 PLAY RECORDS IN A BOX, CELLOPHANE WRAPPED EPN-2000-6
NORGRAN RECORDS 45’ NO CANON DR ■ BEVERLY HILLS. CALIF Man March 9, 1955 whu improvise don’t usually vote Hockey (who with Weeks was in 195) a straight ticket so examples of Neal i’s first band), and bass- Soviet Lnion Russian “jazz and pops” of this ist Keith Hodgson, who currently Trou Jay Jay Johnson No Rating sort aren’t likely to be available ha« the first bass chair in the Out Jay; Time If 1er Time. Ohl Deril This unusual collection is more again for some time. None of the North Carolina Symphony orches Me; Moon; Too Marvelous for B ord»; of a curiosity than anything ap bum mad* in Hollywood under the proceeds from the record, you’ll tra. All four originals are by II ha It’* Von or No One; Coffe Pot proaching a musical event. As the hi glad to know, goes to the Soviet Mann. supervision . f .lack Andre ws are Rating • ttirintb notes honestly say: .. it fo bassist Red Mitchell, dnimmei cuses attention on the lighter side Union or any of its agents or Mann’s thesis, as he explains in Larry Bunker, and pianist P»>te Jay Jay bats I 000 this ,ssue. On representatives. So I’d suggest you his notes, is “that a group that this very well recorded LP, he is of musical taste behind the self Cera, 20, who’s originally from imposed barriers of contemporary dig this, and then b» thankful for han a flute in it should be a light, with Connecticut and has been working given distinguished backing by even Jimmy Boyd. (Colostrum 12" swinging, happy sounding one Thor Wynton Kelly, Kenny Clarke, Russian suzerainty. In u number around Phoenix for several years of records—featuring jazz, pops, IP CRLP 171) Those are the qualities of the in Terr; Red Mitchell contributes tw’o first Charley Mingus, a id, on four, the strument.” This is not always added rhythmic lift of Sabu on tangos, stage favorites, all from Herbie Mann rate solos as well as his usual su behind he Iron Curtain—it offers necessarily true, as Mann himself Gille perb section support Bunker is conga, drur If more proof were Chicken Little; The Things We demonstrate* in his beautifully re McG required of the maturely profic.ent unprecedented glimpses of an as Did Last Summer; Between the tastefully apt &U the way, and pect of Soviet musical culture flective handling (on alto flute) of on t musicianship and easeful versa Detil and the Deep Blue Sea; After used young Cera could be one of the which are interesting, of course, The Thingt We Did Last Summer major new piano finds of the year. tility of Jay Jay, this is it He is W ork; A Spring Morning; My Little Rut his thesis certainly is—or Holl) his assured self at all tempos and for what they reveal, and also, Suede Shoes; The Purple Grotto He swings, has imaginative sweep, though perhap^ ijpt always, for should be—true a good deal of the Gouri with an extended variety of ma time, and by that criterion, Mann and he comps and solos with »dual terial from soulful ballads to heat wnat they are in tnemselves. ly effective power. He even has a The very interesting notes give VoL 4vf Bethlehem’s East Coast succeeds admirably not only in Mux left hand, too. edly up tempo originals (includ playing a buoyant, ^winging flute Nev ing a swinging, authentic-sound the constricted background of pop Jazz series Herbie Mann worked Eardley come in with a fin und from 1953-’^4 wiUi Mat Mathews hirr.seli getting hi? work in prodi ing Latin-American Moon.) music in Russia—its nature and an equally light, syrnpathetic ui of t) uninhibited joy in playing unfor The two technically iemand’ng the controls under which it oper and last fall with the short-Tiveo tunately lacking in such of his cor - ates. Best jazz is played by cor Pete Rugolo band. One of the most rtrumental context. The originals, those temporaries as Chet Baker and originals are, incidentally, by Jay by the way, show a humorous, un pre»'': Jay. It’s quite an exhibition of netist Adi Rosner. His tragic his accomplished flutists in jazz, he Tony Fruscella. Add to this tory is also contained in the notes. will heard Sarah pretentious, and warm musical warmth, Eardley1« taste, inventive trombone fireworks but nore im mind at work. I can think of very rhyti portant, it’s £a11 within the bounds He tried to cut out to put in his Vaughan and Paul Quinichette ness, and fine beat, and you nave card in the west. But they caught few albums, incidentally, that Cijdi an important new talent. All four of tasteful musicality. Jay Jav EmArcy dates, and on a Royal would serve us well as th’- to in has won the right to b< cons.dered him, and last heard from, Rosner Roost Perry Lopez session. His of the originals are his, the most ha® a lifetime gig in Siberia. tasteful associates here are guitar troduce u newcomer to jazz. (Beth the I effective thematically being Spring. as among the great men -if his in lehem I-P BCP 1018) which is based on the opening strument in jazz history. (Blus Jazz, incidentally is back in dis ist Benn$ Weeks (also a Mat «trains of Ravel’s Pavanne Pour Note LP 5057) favor in the Soviet Union—men Mathews sidenitin), drummer Lee (Continued on Next Page) Une Infante Defunte. Th» others are able but not remarkable. On •om» copies, Ake and Glass is call ed LaU Leader, Recording quality is excellent; engineer should hate received a credit line. (New Jan LP 1105) Moudy Herman Wild Apple Honey, Strange; Misty Morning; IT ould He?; Sleep; Autobahn Bluet; Bi Play; La Cu- earache Mambo; 111 Wind; Boo Hoo; Hittin ’ the Bottle The nation s second best band in Never before released! a well-recorded imaginative sam pling of their all-musical-purpose- oook There are up-tempo rides like Honey and Autobahn Blue-; sensitive ballads like Ralph Burns’ Misty Morning and Harold Arlen’s too seldom performed III Wind, un- pretertious jurr pcrs by Manny Al ban like Would He? and By Play, heads like Bottle, and crisp, re laxed dance tempo freshening» uf standard: like Sleep and Boo Hou Good solos by Bill Perkins, Dick Hafer. Cy Touff, Cheriie Walp, Dick Kenney, Jack Nimitz, Nat Bill Castagnino, and Woody. But what makes this set so ener gizing a listening expt r'ene.> it the spirit und cohesion of the band as a whole. It siri with easy strength, and as jh Gleason note;, “there ie ’he intelligent at tention to melodic ballads, beauti ful in treatment, bringing out th» liveliness, that there is the precision, versatility, and excitement uf u b g band that is adept, sure of tself, and secure in the knowledge that a major part uf its function is to reach th» au dience.” Taken singly, the quality of the writing or oi tne solos would be worth around *•**, but wrap ped up in the communal kicks of a wai'.mg baud, it al’ comes blazing forth as the next best to Basie (Capitol 12' LP T560)
Riviera; Dinner for One; Hip Bouts; Windbag; We'll Be To gether Agam; Don’t Argue; Hot* Long Has This Been Going On?; Bap* Groove
The new, doubly potent two- trombom team of Johnsor and Winding (Down Beat Jan 12) now has its second album and ita first with its regular rhythm section (Dick Kutz, piano; Peck Morrison, bass, Al Harewood, drums). Jay wrote and arranged »he first and third and arranged the fifth and eighth. Kai arranged the other four, and wrote twt of them The result is again a full-length dis play of unusually expert and warmly imaginative trombone ar tistry, both in solo essays and in witty mutually sensitiv« dialogue. The numbers are well chosen for program balance and well ar ranged for widely flexible use of the virile sonorities of the two in dividually expressive voices. Rhy thm section, especially Dick Katz, fits in comfortably. The whole al bum is a consistent delight, hence the rating. Ira Gitler^ notes give solo identifications and I bio- graphical background. irding March 9, 1955 1955 Hal McKusick-Betty St. Claire wise is the alto, which he plays him with the necessary careful and that sound forced (Tea for Two ine having any strong desire to ras in with forceful imagination. He also ' basB- Byer» Market; Here Comet skilled support, because these are and Body and Saul strike me as hear any of this over again. It rently Trouble Again; The Thrill I» Gone; blows pleasant clarinet on the too- not easy works to play, just as the least effective because they're might have helped a lot had there n the Out of Nowhere; Willow Weep for politely-arranged Thrill and in his thev are not all easy to assimilate the most didactic). been one or more other horns. Me; Almost Like Being in Love; Nowhere chorus. Byers plays very at a first or second hearing. After I’d recommend your listening to irches well throughout, as does Sunkel. What Boots lacks most of all per re by B hat It There to Say? several listenings, there are still the LP, and more than once. You haps is even a touch of the lyrical Best instrumental is the thought sections of each piece that seem to may not like it, but it will indicate —it all comes out skilled but with Rating: *♦+ ful Willow. On the four numbers be trying so hard to come complex to you one man’s way of moving ins in Hal McKusick is an unusually a sameness of feeling and of at- on which she appears, Miss St. ly alive that they remain made of further into the possibilities of tack, matter what the song. > that versatile reedman who has worked Claire displays a voice of particu manuscript, but the feeling of each jazz, and it's an honest way, light, with Brown, Herman, Raeburn, There is little subtlety, and over larly pleasant texture, a musician- comes through and. so too I be whether it fully works out yet or a whole LP, that can be wearing Thornhill, Lawrence, and recently, ly way of phrasing, and an indi lieve, does the intent not. Good notes by Mingus. (Sa he in- Terry Gibbs and Don Eliott. Betty for the listener. Boots wrote ths vidual approach to a song. She Mingus’ main difficulty at pres voy LP MG-15050) four originals. Iways seems a little unrelaxed in places ent is that he occasionally mistakes imself Gillespie’s first band and Howard As usual, there’s a brief char on this first date, but What Is the complex for the meaningful Boots MumuIIi Uy re McGhee. Trombonist and arranger acter sketch—and nothing else— There To Say especially gives an and forgets there are places where by Norman Vincent Peale Kenton. te) of on the date is Billy Byers, who idea of the considerable potential simplicity is a good deal more tell Rubber Boot»; Le Secret; Four nwi« used to be a studio musician in Gide; El Morocco; Mutt and Jeff; This one’s the best yet. It turns this girl has. An interesting LP. ing than any amount of straining out that Boots’ “approach ia quite is-oi Hollywood, worked with Auld, (Jubilee LP-1S) at the bounds of the acceptedly You Stepped out of a Dream; Tico of the Goodman, Ventura, and for the Tico sober with much seriousness” and “consonant." There are other that “his devotion to his family ia Mam 8ast four years has arranged for Charlie Mingus times, of course, when it’s essential Rating: ly in lax Liebman, one of the leading equal to that of his music.” But Purple Heart; Gregorian Chant; to be “dissonant” It takes experi A “Kenton Presents" album. not a mumbling word about the flute New York-based TV and radio Eulogy for Rudy William»; Tea mentation and growing, however, Boots, alternating on baritone and >rk in producers. Billy is also a member music. Well recorded. (Capitol LP for Two; Getting Together; Body to know where and why both the alto, is backed on these by pianist C2517) of the Tony Scott septet. Among and Soul simple and the farther out fit in, Ray Santisi, bassist Max Bennett, those also on the date are the im Rating i ♦♦♦ and this LP is part of Mingus’ and drummer Shelly Manne. Boots Lennie Niehaus, Vol. 2 s, un pressive young trumpet-arranger Charlie Mingus is accompanied growth. plays with swinging vigor, but he usicai Phil Sunkel; and the proficient in this collection of his originals The important thing is that un lacks the special mark of imagina How About You?; Figure 8; ' very rhythm section of Gene DiNovi, and arrangements by John La like his occasional composer asso tive distinction that Paul Des Patti-Cake; Ju»t the Way You Look that Clyde Lombardi, and Jimmy Camp Porta (clarinet and alto); Teo Ma ciate, Macero, there is real feeling mond, Frank Morgan, Herb Gell Tonight; Have You Met Mi»» to in bell. I’ve been asked not to name cero (baritone and tenor); George behind Mingus' writing, and he er, and Bud Shank, among other Jone»?; Night Life; The Night We Called it a Day; Seaside BmI. the guitarist for contractual rea Barrow (baritone and tenor); inanv vearsof jazz apprentice of the younger altoists, possess. It’s ★ sons. uiiv Niciiuis (mums), and Ma. ship so that there is always a vi- all competent and the rhythm sec Ratings * * McKusick’s best instrument jazz- Waldron (piano). They provide mctv in his wm-k. even in the parts tions moves well, but I can’t imag- Having made his record debut with a quintet, Niehaus adds three more for the second session (Nie haus, alto; Jack Montrose, tenor; Bob Gordon, baritone; Stu William son, trumpet; Bob Enevoldsen, valve trombone; Lou Levy, piano; Monty Budwig, bass: Shelly Manne, drums). The album is a disappointment because it is so dryly indicative of the headfirst, emotions: second approach to the use of extended form in jazz. As Niehaus himself states in his notes, “. . . with the more intellec tual and academic approach there is also a tendency for the jazz composer’s work to be contrived and esoteric.” Esoteric this is not, but contrived it certainly is. Except for a moving arrangement of The Night We Called it a Day, this is classroom jazz, however advanced, and it comes out hermetic with al most no organic inner life. It’s all very clever, and with that one ex ception, so emotionally barren. Take the four Niehaus originals. Not one has thematic distinction or strength because not one seems to have come out of any irrepres sible need to express emotions. Contrast them with John Lewis’ Vendome, Milano, or Concorde, works that have come from so marked an individual need to speak that they are alive entities, and therefore will be part of the book of other jazz units for some yean to come. But who, outside of a re I he record of a man whose music wouldn’t stand still — Searching, seeking, hearsal studio would want to play any of these four? They’re made he burst upon a world of music which had become of theories, not emotions. Certain static with time and inertia and blazed the trail lor a new ly there are many other possible approaches besides Lewis’ but each expression in sound. must come from the emotions first. The only consistent liberating solo In the jazz orbit. Stan Kenton has become the colossus of a forces on this session are Niehaus’ own alto and Lou Levy’s piano. truly magnificent music and to its young musicians, the pied Recording quality is fine. Notes are wonderfully lucid since they piper of a rhoving, vital, imaginal’ve new style. were written by the musicians in charge. (Contemporary LP €2517) — Here now is a doc umentary of this world from 19l(l to the Kid Ory present.' Records of concerts, rehearsals, transcript tons and II hen the Saint» Go Marching । /I unreleased masters, authenticated by a commentary. 1 _. ■ dramatizing in pictures and anecdotes the events and artists Rambie; Clarinet Marmalade ¡Get £ - , r tysburg March; Yellow Dog Blue»; of The Kenton Era. This is an album and a book every fan I Found a New Baby^ , V . ' f Rating: **** of modern jazz vVill want to own. A cleanly recorded New Orleans ball, with Kid Ory warmly assist ed by Alvin Alcorn (trumpet); George Probert (clarinet); Don Ewell (piano); Bill Newman (gui tar) ; Ed Garland (bass); and Minor Hall (drums). Packaging is also a pleasure with a happUv weird Irene Tnvas Mardi Gras THE KENTON ERA cover in front and two New Or leans recipes by Kid Ory on the Four 12" long play records back along with an account of how with a fully illustrated 14 page book he wrote Muskrat Ramble. Kid Also available on 45 EP sings on Saints. (Good Time Jasa 15 records plus book. 12’ LP GTJ L-12004) I .eon Prima Up the Lasy River; When Irish Eyes Are Smiling; That’» A Plenty; Old Man River Rating: ♦** Irish and River are given seldom-heard Dixie treatment» toat are refreshingly done with trun^ Sonny Stitt...... Don Byas...... Tenors-Prot,Feh Novarro Hawk,...... Webster ..,
DOWN BEAT March 9, 1955 Mai
Rip Phillips Quertet Introducing Paul Bley...... n Earl Hines ...... P Shorty Courts The Count 12" 2.80 MAIL ORDER JAZZ Oscar Pettiford Sextet... n Bob Enevoldsen ...... P Jazx For People Who Hate Ja 25 SPRUCE STREET Oscar Peterson Piano Solos.... Oscar Peterson at Camogie.. Kenny Dornam Quintet. M Virgil Gonsalves-Wlse-Levy .... F Sound of Sauter-Finogan 12". 2.80 JERSEY CITY 4, NEW JERSEY John La Porta Quintet □ Herbie Harper ...... “ Inside Sauter-Finogan 12" .. 2.80 ALADDIN LT's L. Young Collates I, 2 ea. 2.80 F. Phillips Collates I, 2. eo. 2.80 Sam Most Quarte* 2.80 NORGRAN LFs Sauter-Finogan New Directions .. 2.80 Illinois Jacquet ...... 1 1 Swing with Johnny Hodges . $2.80 Fats Walter Collectors Sot...... 5.40 2 50 O. Peterson Collates I, 2. oa Thad Jone J. Hodges Collates I, 2 oa...... Jazz Workshop -w. . 2.80 3 Dizzy-Getz Sextet I, 2 ea...... 2.80 Combo Hits-B G -Shaw etc. . 2.50 I. Jacquet Ada Moore-Workshop Vol. 3.... 2.10 J Music of Buddy DeFranco...... 2.80 Smoke Rings-B. G.-Shaw etc.. . 2.50 Illiaois-loiter Youag ... 2.50 DECCA LP's “I AI Hibbler Favorites...... Crazy 8 Cool-Dizzy ate.. 2.50 ALLEGRO IT'S Roy Eldridge Collates Charite Barnet Plays Barnet.... Count Basie at the Piano...... $2.50 ” Pmz-Petenon Vol. I, 2 ea...... 2.80 Bunny Berigan Plays Again 12* .. 2.00 Free Forms-Ralph Bums...... Count Basie Orch. 12"...... 2.80 J Artistry of Louis Bullion...... Around World Jazz England.. 2.50 Daka Olii O. Peterson Quartet I, 2, oa.. 2.B0 Chase and Steeplechase-Gray... . 2 50 J Charlie Ventura Quartet...... Around World Jazz Sweden I ,2 sa. 2.S0 Hampton-Boogia Woogla ...... ~ Second Afro-Cuban Jazz Suite t Around World Jazz Italy . 2.50 Dizzy Gillespie It" Charlie Ventura Collates...... Billie Holidays Sings Hampton-Just Jazz ...... Urbane Benny Carter.... 2.80 r Mundell Lowe Quintet 12" 2.80 2.00 2.50 □ 8. Peiffer et Son Trio...... □ Artie Shaw Broadcasts Sett...... I. Peterson Hays Pretty I, 2 el Hampton-Moonglow ...... 1 C. Basie Orch. Collates...... Billie Holiday-Lover Man...... ] Don Byas et ses Rythmes. .. 2.80 REMINGTON LP's Kay McKinlay Hays Sauter Jazz Studio Vol. t, 2 oa...... “1 Slim Gaillard ...... n Dizzy-BIrth of BoBop He Boyd Raobern-Diz ...... Gone Krupa Trio Collates...... $. Criss-T. Turk Collates...... 2.80 Kansas City Jazz-Basie etc...... R Louis Bel Ison Big Band...... P Sarah Vaughan... .. 1.5V Sei 2.50 2.80 Jimmie Lunceford Orch. 12" .. 2.80 AI Hibbler Sings Ellington.... 2.80 RIVERSIDE LP J Slim GaUtord-Bird-Diz 2.50 Bill Harris Collates lu Slim Gaillard Mish Mash ... Luncoford-For Dancer's Only... 2.50 "I Moods By Buddy DeFranco...... □ Randy Weston Plays Porter . ANGEL LFs Wild One-Rogers-Shank etc...... 2.50 ,~| Interpretations Getz I, 2 ea 3.50 ROOST LP's Italian Jazz Sto . Anita O'Day Collates...... C O’Farrill Afro-Cuban...... 2.80 Art Tatum Piano Solos...... 2.50 J Artistry of Ben Webster 12” P Bud Powell Trio Vol I, 2 ea.... 2.B0 1 Django Reinhardt Q H C F. P Sten Getz B C. O'Farrill Jazz ...... 2.80 Charlie Ventura Concert 12*'.... 2.80 “ Modernity of Kenny Drew 3.50 2.B0 íng Dizzy Gillespie Strings...... 2.80 Ella Fitzgerald-Gershwin ...... 2.50 Fl Frez 12" ...... 3.50 LJ Georgie Auld Quintet ...... 2.B0 Ame» Cobb ...... 2.80 Ella In A Mellow Mood 12**.... 2.80 R Afro-Dizzy Gillespie 12"...... Getz Swedish All Stars 2.80 me Illinois Jacquet ...... Stan Gotz Ploys...... Slim Gaillard Cavorts...... DEE GEE LP's Johnny Hodges-Carney 12"... 3.50 P James Moody...... 2.80 the Sir C. Thompsoa-BIrd ...... 3.80 Dizzy Gillespie Vol. I, 2 ea...... G Wallington with Strings.. 3.50 □ Billy Taylor at Storyville...... 2.80 Georgie Auld-Diz ...... Dance with Barnet...... Ch Didactic Mr. Wilson...... Bill Russo ...... 2.80 □ Louis Bellson-Zoot Sims 12".... 3 50 P Geiz at Storyville I. 2, 3 ea. Coleman Hawklns-Dh ... Mi» Jackson ...... J Artistry of DeFranco 12"...... P Kai Winding All Sters...... 2.00 Rv ATLANTIC LFs Benny Carter Cosmopolite.... Lionel Hampton Quartet...... Shelly Manno ...... George Wallington Workshop P Billy Taylor Trio 2.80 £ Dizzy Voi. I. 2 M...... Vol. 2 Artistry ot Sten Getz ...... DIAL LP's RBud Powell Trio...... n Johnny Smith-Getz I, ea. 2 80 Charlie Parker I, 2, 3, 4 aa...... $2.80 Granz* Jazz Concert Set...... M Diny Over Paris...... 2.80 Erroll Garner I, 1 3 oa. Evening with Billy Holiday.... am Oscar Peterson Sings...... Dexter Gordon 2.00 □ Evening with Ventura-McCall... n Sonny Stitt-Plays Richards...... 2.80 Billy Taylor ...... Erroll Garner . 2.80 GENE NORMAN LP's n Lee Konitz...... 2.80 Co: Barbero CarroH ...... IM Count Basie Big Band...... Gene Krupa Sextet I, 2 ea...... Art Tatum Trio. (“I Charlie Ventura 12" ...... $3.50 P Getz Quintet-Chamber Music.. 2.80 Oi. Count Basie Sextet...... Dodo Marmarosa Trio. 2.80 H Buddy DeFranco ...... 2.80 P Sonny Stitt at Hi-Hat...... 2.89 i Roy Eldridge Quintet...... James Moody ...... Dizzy Gillespie ...... 2.80 P Bonne More Plano Mambo... 2.80 Chris Connors-Bird land ...... 2.80 Woody Horman Woodchoppers. n Cliff Brown-Maz Roach...... P Johnnv Smith Mellow Mood. 2.80 wa Chris Conaon-Lovers ...... So» Moods-T. Wilson...... 2.00 Charlie Parker ...... Mister Saxophone-Parker etc.. 2.80 F Gerry Mulligan...... 2.80 □ Sten Gotz Split Kick 2.80 rei Oscar Pettiford Quinto*...... Dizzy end Modern Trumpets... 2.00 SAVOY LP's 1U Jumping Moods-F. Phillips. MERCURY LP Bobby Scott Trio...... Teddy Wilson All Stars...... 2.PO □ Divine Sarah Vaughan...... tet Ruby Braff Swings...... A. Shaw Gramercy 5-1, 2 ea.. 2.80 $2.50 Billie Holiday ...... Django Reinhardt Vol. I, 2 ea.. 2.00 PACIFIC LP George Shearing...... to Hank D'Amico Quartet...... Rex Stewart Orch...... □ Johnny Holiday Sings-Bud Shank Johnny Guarnieri Trio Charlie Shaven ...... Strolling Mr. Eldridge $2.80 S of C. Barnet Dance I, 2 oa Don Byes Orch...... 2.80 PACIFIC JAZZ LP's Boyd Raeburn Vol. I, 2, 3 oa. Aaron Sachs Quintetto...... Night McGhee Jazz At Storyville 1. 2. 3, 4. 5 (n 2M Roger King Moxian...... Music-Jones, etc. P Gerry Mulligan Quartet I, 2 oa.. East Coast Voi. I McKusic etc... Bird Blows The Blues 12"...... □ Mulligan Quartet/Konitz ...... McPartland At Storyvillo 3 nu East Coast Vol. 2 Vinato Burke Jazz By Jacquet...... 2.00 Parker with Strings, I, 2 oa... Erroll Garner's Gaslight 12".... 4.25 □ Chet Baker Quartet I, 2 ea...... R Marian McPartland Moods I, an Norvo-Dii-Bird Session...... Mitt Buckner Piano...... Bud Powell I, 2 ea...... Red 4.25 n Harry Edison Quartet ...... wo Machite Afro-Cuban Suite .... Parker Alternate Masters...... 4.25 n Almeida Quartet-Shank f, 2 ea.. 2.89 Illinois Jacquet...... Eddie Sha ...... l.U Parker Collector's Items...... P Chet Baker Ensemble...... McPartland at Hickory House en Jonah Jones Sexte« Opera in Voot...... 2 80 Machito-Fllp and Bird...... DISCOVERT LP's P Russ Freemen Trio...... I Joo Roland Symfonet. noi Red Norvo Tri Chuck Wavne Quintet Conti Condoli . Parker South of Border...... Konitz with Mulligan Quartet 2.00 Django Reinhardt ...... Dizzy GillespieGillamit Plays. 3.00 P Chet Bakar Sings...... Al Cohn Quintet...... G. Krupa Trio J A T P...... SZoot7nnf Sims(¡me QuartetOu. n Bob Gordon Quintet 2.80 George Wallington Trio ■ East Coast Vol. 4 Herbie Mana. George Shearing Quintet The Hawk Talks...... * Peffttord, Tern, Wilder etc...... Peterson^ole Porter...... 2.80 Eud Shank.3 Trombones ' East Coast Vol 5 Milt Mintoe. Peterson-Irving Berlin ...... Georgie Auld ...... P Sextet-Shank-Brookmeyor 2.09 Bob Freedman Trie McPartland The Magnificent. •LUC NOTE LTs Peterson-George Gershwin .... 3.50 Paul Smith Trio Vol. I, 2 eo. □ Bob Brookmeyer Quertet Peterson-Duka Ellington ...... b Art Pepper Quartet 2.80 PERIOD LP's Phil Urso-Bob Brookmeyer.. 2 Mellow Mood-Christioe Art Pepper Quintet Charlie Parker I, 2, 3 4 oa.. Thelonious Moek Vol. I, How High The Moon J A T P. 2.80 P Django Reinhardt Vol. 1, 2, 3 oa. $2.80 Eddie Bert Quintet Lester Young...... Bad rowel! Vol I. 2...... Charlie Parker Big Bend...... P Al Haig Quartet ...... 2.00 Bud Powell's Moods ...... Mary Ann McCall P Ralph Burns Spring sequence., Dorter Gordon...... Fots Navarre Memorial . Sten Gotz...... James Moody with Strings Lionel Hampton Quartet IT’. Beryl Booker Vol. I, 2 ea. [j Mingus-La Porta ...... 2 83 _ British Jazz ...... James Moody Modernists. Art Tatum Genius I, 2, 3. 4, 5 PERSPECTIVE LP's La I w li ^Peirl^T V, A, mg “y V Jazz Moods-Jacquet 12*...... J Canadian All Stars...... Mehegan-Barrel to Boo...... Mas Roack Quinte*...... Peterson-Jerome Korn ...... I New Sound From England 2.80 Mohegan Plays Show Tunes... J Rolf Ericson ...... Mi» Jackson Wizard of Vibes.. Peterson-Richard Rodgers ...... 2.00 G PRESTIGE LP's Peterson-Vincent Youmans .... 3.58 " Isles of Jazz...... 2.80 P Jay 8 Kat All Stars...... $2.80 McGhea-Navarro Sextet ...... Jazz From Sweden New Sounds-DIz Fats, Bags. Milos Davis Voi. I. 2 > eie... C. Basie Dance Session 12".... " ' Miles-Rolllns-Silvor ...... 2.80 Rocking Mr. Krupa...... _ Hans Koller ...... 2.00 . 2.B0 Tenors-Byas, Webster, Nash.. Dizzy Gillespio ...... “ Arnold Ross Trio...... Miles-Silver New Tronds-Stltt Fats Bud Horaca Silver Voi. I, 2 ea...... Lionel Hampton Quintet...... 2.80 Miles-Blue n' I Boogie...... 2.00 Artie Shaw Vol. 3 i2" ...... Roy and Zoot...... 2.80 2.00 New Trends-Eaget, Gibbs. Swinging Swedaa-Cool Britoas. “Jerry Wiggins Trio...... Miles Quartet with Silver Now Tronds-Gordon Fots Gii Molle Voi. I, 2 3 ea...... Lewis-Louis Bollsoe ...... 3.50 I Miles with Cohn. Zoot... 2.80 Basie Jazz ...... EMARCT LP's Now Tronds-Kal, Gotz J Young At Bop-Red Rodney. ' Miles Blue Period...... Now Tronds-Leo Parker Howerd McGhes VoL 2...... F. Phillips-Buddy Rich Trio. 3 Miles New Sounds-Rolllns 2.80 Winton Kelly ...... Astaire Story I, 2, 3, 4 ea.... 4.25 2 The Small Herd...... Mlles with Modern Trumpets... Now Tronds-Fots Navarro ... Sarah Vaughan-lmages Gordon, Grey, McGhee Memorable Stalen Christian Jam Session I, 2, 3, 4, 5 ea... 2.50 Modem Jazz Quartet I, 2 oa... 2.80 Swing Hi-Swing Lo-Webttor 2 Beryl Booker ...... Milt Jackson Quintet...... Tonors-Byos, Nash, Lane... _ Erroll Gamer Gamering.... Birth of Bop I, 2, J, 4, S ea. J. J. Johnson-Clift Brown.... II. 12. 13. 14 oa...... 2.50 Charles Directions I, 2, 3, 4 oa. 2.80 amo nope vu,. i, < w... J A T P Vol. IS, Ik eo...... _ Maynard Ferguson's Party.. 3.50 H Teddy Charles-Brookmeyer Gray, Krist, Hawes ...... Bill DeArango ...... Brew Moore...... Loa Donoldson-Cuif Brown Jazz Scene ...... I Teddy _ Charles Trio...... Jazz Scene Photo Album...... Laster Young 8 Qulnlchette 1 Vice-Pres-Qu’eidhotte ...... Thelonius Monk Trio Clifford Broom ...... Astaire Story Limited Ed...... THblonius-Jonnp Rollins...... □ Howk, Musso. Koi. n Gray, Krlss, Kessel I Sal Salvador Quintet ...... Genius of Aft TAum Special. F Y I Charllk Ventera Thelonius-Foster-Blakey ..... Urbie Groen Septo* ...... Rip Phillips-Peterson ...... Gone With Gamer.... 3.50 n Swingin' Swedes, ' Maynard Ferguson Domensioni Thelonius Plays with Blakey 2.80 n Don Elliott...... Night At Birdland I. 2 > ea. CONTEMPORARY Raney In Sweden...... 2.80 Cliff Brown-Mas Roach 2.50 n Bird-DIz-Bud-Maz Tal Farlow Quartet...... Sunday Lighthouse 2, 3, 4 oa.. L4-.L. C.IU. jimmy Raney Plays Frank Foster Quintet...... Sunday Lighthouse vol. I 12" J Herb Geller ...... 2.50 □ Billy Taylor J Lionel Hemp-Crazy...... □ Billy Taylor Trio I, 1 □ Cal Tjader...... Henri Renaud's All Stan... .. 2.50 I Taylor Mambo Jan...... 2.80 Gigi Gryee-Cliff Brown .... Shelly Manno Vol. I, 2 ea...... _ Erroll Garner Contrasts □ Kal and Jay 2 Mambo Garner ...... ”) Taylor Plays DJ Themes Jutta Hipp Quintet...... Barney Kessel Vol. I, 2 ea. 2.88 “1 Taylor with Candido SECCO Julius Watkins Sestet...... Lan Guilin ...... " Jam Session-Brown, Ferguson AI Haig-Sten Gets ...... Art Blakey ...... R Taylor Town Hall Concert. 2.00 Don Byas Favorites Eminent J. J. Johnson...... Dizzy Gillespie In Paris...... Art Farmer Quartet 2.80 2.80 Melody Maker All Stars.... Lennie Niehaus ...... 258 J Mary Lou Williams All Stars. 2.50 B„ , . SKYLARK LP's EPIC LP's Art Farmer-Gryce-Sllver...... J Jam Session-Ferguson Most .. BRUNSWICK LP's COLUMBIA LP's Art Farmer-Rollins-Silvor...... 2.80 $2.89 Woody Herman Dance...... J Count Basie ...... I Jam Sossion-Rogors, Guiffro 2.80 Jazztime USA I 2, 1 oa...... Art Farmar-Rolllns...... Paul Willis Conover Bend 12”.... Herman Sequence In Jazz...... _ Moon Dog ...... 2.50 1-1 •—1 Smith Quartet...... 2.80 Art Farmer-Cliff Brown...... Bob Art Tatum Vol. I, 2 M...... 2.50 Herman Woodchoppen ...... Artie Shaw 2.50 Tulley...... 280 Glen Miller ...... Moody in Sweden I, 2, 3 h Solos-Cooper, Most . .. Basis's Best-Prat etc...... Horman Three Hords 12"...... 2.50 James Moody In Franco...... 2.80 Peto Rugolo Orch...... " Neil Hefti ...... ----- Taylor...... 2.50 james Moody's Mood 2.80 2.80 2.50 Rugolo Adventures In Rhythm. J Lou Stein House Hop...... 2.80 Oscar Moore...... 2 80 Jazz Goes to Collage-Brubeck. ESOTERIC LP's Sonny RoHins with Monk George Rodman Group Terry Gibbs Quartel...... 2.50 R Sonny with Kenny Dorham 2.80 Tony Scott Quartet...... S.SO Brubeck ot Storyvillo...... □ Al Haig ...... STARLITE LP's Billie Holiday Sings...... r Charlie Christian Sonny Rollins Quartet. Tony Rtni Jazz For G. I.'s Vol. I Scott.. R Lennie Tristano-K«Con»z 2.80 Hi R Jazz Vol. I Gibbs etc. Billie Holiday-T. Wilson . □ Jazz Off The Air, I, 2 ea. .. Ted Nash. Billie Holiday Favorites...... r Dizzy-Charlie Christian ...... Sten Getz Vol. I, 2.80 § Tha Hl-Lo R Stan Getz with Lee Konltz 2.00 2.80 Baryt Booker' ...... Count Basie banco Parade...... □n SonnyOld Sounds Borman Brubeck 12"...... Octet. 4.25 STINSON LP'x M Net Pierce Herdsmen M Lee Konitt with Mites Davis 2.00 Doe Shirley 12*'...... V... 3.50 How Hi The R-Cohn 12"...... FANTAST LP's J A T P Vol. I...... $2.50 B Chef Baker with Strings 12"... □ CalDave TjaderBrubeck Afro-Cuban. Trio I, 2, 3 ...ea. R Gerry Mulligan’s Too 2.80 Art Tatum Trio...... CAPITOL LP's □ Tjader Plays Mambo Gerry Mulligan Blows 2.80 2.50 J Kenton Artistry ...... Mol Powell Jam Session 12"... Dave Brubeck Octet...... Mary Lou Williams Concert 2.50 B. G. Carnegie Hall Concert., I Dave BrubeckIMPERIAL Quartet LP's...... 2.80 ■) Tadd Dameron-Cliff L.— 2.00 STORYVILLE LP's ' Kenton City of Gloss...... B Charlie Mariano Vol. I, 2 oa. n G. Wallington Vol. I, 2 Kenton Classics ...... B. G. 1437-38 Jazz Concert...... 8.50 Gerry Mulligan Quartal...... Toddi King Vol. I, 2 ea...... CharlieBrubeck VenturaAt Storyvillo...... F Charlie Mariano Vol. I, 2 Loe Konltz Vol. I, 2 oa. Kenton Encores ...... JAZZ WEST □ Red Rodney...... Kenton Innovations 12*' Benny Goodman-Peggy Lee...... 2.50 Cal Tjader Trio...... Bob 8rookmoyer-AI Cohn .. 8. G. Sextet Session □ CharlieJack Sheldon Mariano ...... Sextet...... J Zoot Sims with Cohn, Kal. Kenton Milestones .... “ Swingin' with Zoot...... B. G. Plays Sauter...... 2.80 Brubeck AtLONDON Oberlin ...... LP's 2.80 2.80 Kenton-Bill Russo ...... J Georae Shearing Trio...... “I Wardell Gray with Farmer.. 2.80 Kenton-Bill Holman ...... B G. Hays Henderson...... 2.80 Rod Norvo Trio...... Serge 8 Boots ...... B. 6 New Sestet...... J RalphBrubeck Sharon College Autumn of Pacific Loaves, ... R Wardell Gray Jazz Concert. 2.80 Jan at Stonville I, 2 ea. Kanton-Russo-Holman 12*' j Ralph Sharon Spring Fever. . Wardell Gray Tenor Sax 2.80 Kanton New Concepts...... •- G Golden Era Orch...... Ellis Larkin Perfume t Rain 8. G.-F. Henderson Fund...... Ted Heath Orch.. . Gene Ammons Vol. I, 2. 3 2.80 TREND LP'S Kanton Forlroits ...... Ted Heath Palladium Chubby Jackson All Stars Kenton Progressive Jazz . 8 G. Golden Era Sestet...... 2.80 R Jerry Raiding I, 2 3 ea. • 6 Lot's Hoar The Melody _ Tod Heath Strike Up The Band F Joe Holiday Sounds Newark 2.80 Kenton Sketches ...... 2.50 1 Holiday Mambo with Stiff Claude Thornhill I 2 ea. 2 80 King of Swing 4-12"...... _ Ted Heath Plays Fats Waller. 2.80 Davo Pell Plays Berlin Kanton This Modem World 2. SC 25.50 Heath 100th Concert 1 Holiday Mambo vs Cool.... 2.80 Gone Gamer Gonest 12"...... 52.00 John 2.80 Jimmy GoiWre ...... _ Heath Listen To My Music... “I Sonny Stitt Vol. I, 2 oa...... 2.80 Gerry Mulligan Tontotto Gamer Gems 12” ...... 2.80 2.80 P BettyDjango BennettReinhardt...... 2 00 Erroll Garner ot the Piano 12". J Heath Tempo For Dancers . “) Sonny Stitt Mr. Saxophone. 2.80 Lucy H Stitt Battles Ammons Ann Polk-Dave Poll 2 80 Gamer Piano Moods...... n MAC GREGOR LP's 2.80 Mott Dennis 12" □ Sten Kenton .. . "1 Stitt 8 Bud Powell .. 4.25 Garner Solo Right...... Poll Ploys 4.25 Settle of Bands-Dh, B. G. „ _ MARS LP's 1 Kal Winding-J. J. Johnson Modera Idiom-Dix B. G.. Gamer Gems if*...... Matt Dennis trio...... Les Brown Dancy 12"...... □ Woody Herman Danca Date.. ”1 Bennie Green-J. J. Johnson Trompet Classicela.. J Mary Lou Willi« VANGUARD LP's Les Brown Sentimental Journey. LJ Woody Goos Native 2.58 Willlams-AI Sax Classlcs-Auld, Hawi. 2.80 ~ Svensson-HalbergSvensson-Halber« Trio . Vic Dickenson Vol. I, 2 oa. . Los Brown Dance Dato ...... Sir C. Thompson Sxztet ”1, Bengt Halberg EnsembleI 2.80 I 2 80 “) Ale Persson All Stars Mel Powell Septet 2.89 COMMODORE LP's...... 2.50 Sir C. Thompson Quartet. 2.90 □ Frank Wess Quintet...... Quincy Jones-Art Farmer 2.00 The Goodmen Torteti .$2.88 2.50 Reinhold Svensson Seztef Joo Newman-Frank Foster... □ Frank Wess Sextet...... 2.50 2.80 Buck Clayton-Ruby Braff .. . 2.80 J Lars Gullin Quartet.. . 2.80 Sesslon/Easy-8. G 12" Q Billie Holiday Vol. I 2 oa 2.50 Mol Powell Borderline 12". .. 2.00 “ Kansas City Style-Prez...... Bengt Halberg Quartet 2.80 Hirtory of Jan I, 2 3. 4 2.50 2.50 “ Lars Guilin Octet ...... Mol Powell Thigamaglg 12" 2.00 C Town Hall Concerts I. 2, 3 4 aa Sir C. Thompson Band-Hawk Woody Hermon Classics. J Arne Domnerus Clarinet 2.89 Coot and Quiet-Miles CONCERT HAU LP's $2.W “ Domnerus-Gullin Group.. Urble Groen Bond-Braff ... Coleman Hawkins 12"...... $3.50 2.80 VANTAGE LP's Rao Stewart 12"...... ~1 Reinhold Svensson Piano. 2.50 B R Halberg Trio-Gullin Quartet a Hamp Hawes Trio______CORAL LP's Leonard Feather in Sweden. Anthony Ortega Quartet Tetan ote-Pleno Stylists □ Las Brown Over The Rainbow .. □ Pinky Winter-Sten Lovay ___ 2.80 Woody Herman Third Herd . 52.50 □ Roy Eldridge In Sweden. 2.50 □ Georgie Auld Tenderly...... I Reinhold Svensson Piano .. VOX LP's □ Charlie Ventura's Open House.. Herman At Carnegie Hall 12" $2.50 Claude WIHIanaoa “ Les Brown Weather Vane...... Evening with Shearing 12"...... 2.80 PROGRESSIVE LFs Bill Hotawa ...... F Neal Hefti-Coral Reef...... Shearing I Hear Music...... F George Wallington Trio...... Fl Al Cohn Quartet...... Toddy Hlll-Dlxxy . 2.50 □ Georgie Auld Manhattan...... George Shearing Quintet...... Shearing Touch of Genuis...... □ Al Cohn Quintet...... A Cool Yuletlde-Cohn. Sei Salvador . n Private Holl 34-Gordon etc. Handytend USA 12'*.. Frank towline n Les Brown Palladium Concert Shearing Lights Are Low...... RAINBOW LP Q Las Brown Invitation...... Dizlaland vs Birdland 2.50 □ Chubby Jackson All Sten. Calvin Jackson 12*' Booti Marmili Red Norvo n Los Brown Let's Dream...... 2.50 Hot Ûs Cool-Dizz 2.50 RCA VICTOR IP's n Les Brown Lot's Dance...... 2.50 Winter Sequence I Bums. P Cool • Crazy Rogers.. $2.50 Note: New low prices, täte, fast, ship □ Brown You're My Everything 2.50 NIW I AZ? LP*, R Shorty Rogers Giants... 2.50 ments. Shipping costs 15c for first record 2. SO DALE LP's □ Jimmy Raney Quartet...... This is Benny Goodman 2.50 —20c each additional. $1.00 deposit on EHingtee Plays Bliagtai' H Billie Holiday and Gotz...... n Zoot In Hollywood...... J Benny Goodman" ' ÄQuartet. * C.O.D.'s. Minimum order ¿ 00 No. C.O.- LJ Stan Getz in Retrospect...... □ Jimmy Raney Ensemble...... J Benny■"*y Goodman Orch. 12” 2.00 D.*s to A.P.O. or Foreign oddrosses A.P.O. LJ Paul Qulnlchette Quintet...... □ Phil Woods Quintet n Benny ------Goodman ------Trio. - shipments our speetelty All records now, DEBUT LFs NOCTURE LFs R Ellington's Greatest IT foctory frosh. Cote logs with oech shipment □ Strings • Keys-Hingus ...... □ Herbie Harper-Bob Gordon Ellington Plays Blues ... 2.50 □ Jazz At Massey I, 2, 3 ea...... H Bod Shank-Shorty Rogers...... 2.80 □ This Isis DukeD-i- Ellington...eiii.nff». . □ Jan Workshop-Trombone ...... n Horry Babasln ...... 2 Ellington"• ' i Seattle Concert 3 Don Ellio □ Exptoratteno-Ted Macero...... □ Cooley Graves Trio...... ■Ilio» Quintet 12" 9, 1955 March 9. 1955 nous BMI arrangements of them, rollowing plays well, and Legge particularly number of the first side and is album was issued at the -aiw time ... 2.80 each of these, Andre presento an hat never been heard to such con ■onvincingly executed by Shank. as Hughes’ The First Rook of Jazz 2.80 Jazz Reviews original instrumental, based on th« sistently good advantage on record. 2.80 Coop (composed and arranged by for young people war published by 2.10 (Jumped from Page 15) -ame chords but with, of course, Record is recommended but can Cooper) opens side two. and >s the Franklin Watts. On this LP, brief 2.80 band rides out. New Orleans stal numerous variations- On the second not be rated higher because the most interestingly worked out evocative musical appearance» are 5.40 side of the record, this procedure limited tone color inherent in the number of the set. Bill Holman 2.50 warts Santo Pecora, trombone; made by among others: Louis, 2 50 Monk Hazel, drums; Chink Mar is reversed, with Andre arranging instrumentation becomes somewhat wrote nnd arranged S&B, which is Baby Dodds, Jelly Roll, Lead BJly, 2.50 tin, bass; Roy Zimmerman, piano, the standard and Shorty producing tiring over a whole LP unless the of mild thematic interest, und is Bunk Johnson, Scott Joplin, Albert 2.80 the original bused on its chords?’ material itself is of unusual in played well by Stu Williamson and 2.50 romp through these two 78s (J. Ammons, Ma Rainey. Johnny •o 2.S0 T.) (Southland 9016, 9017) Personnel besides Rogers and terest and, except for Spice, it is Enevoldsen. Stan (composed by Dodds, Count Basie, Mary Loa 2.50 Previn comprises Bud Shank, alto not here. Recording quality is u Holman and Levey is n crashing Williams, Meade Lux Lewis, Bix, 2.80 Django Reinhardt und fluie; Bob Cooper, tenor and firrt-rate. (Savoy U’ MG-15047) (literally) bore, Fizst and sixth 5.60 Bunny Berigan, Duke Ellington, festival 18; Nuages; Oiseaux des boe; Jimmy Giuffre, baritone; Frank Rosolino ddMilt Bernhart, trombone; Shelly cover shot by Fred Lyons, ».ood tano, and jomo teenagers in New Serenade; Diminu* thing;** Rythmr~ ” Manne, drums; Joe Mondragon, Ragamuffin; Embracaable You; recording. (Contemporary C2515) Pm Gonna Sit Right Down and York making their wn music. It’s 2 50 futur bass (8); Curtis Counce, bass (4); Sal Salvador very well done for the purpose at Rating: iriririr Al Hendrickson, guitar (8); Jack Write Myself a Letter; Resame Mu hand, and if you love jazz, I’d 2.80 Thio is one of the most absorb- Marshall, guitai (4). The competi cho; Linda; frank ’n Earnest Down Home; Salutations; Violets strongly •■('commend vour buying 2.80 ¡ng of the recent Reinhardt tion is reasonably ingenious and Rating: for Your furs; Now See Here, Man; it for your kids. And if you haven’t 2.80 A ‘Kenton Presents” album. Nothin' to do; Boo Boo De Doop; 2.80 memorials. Serenade gota back to consistently graceful with all in any kids, you’ll dig it anyway. Ac 2.80 the original Quintette of the Hot volved showing expert musician Frank’s personnel includes Charlie Autumn in Neu York; Wheels companying booklet has Hughes' 2.80 Club of France days; Dinette Mid ship. Album should Im- particularly Mariano, alto; Sam Noto, trumpet; Rating: ** 2.80 Pete Jolly, piano; Max Bennett, text und record credits. (Folkwnyw 2.80 Rgthnu were made with th* later interesting to fledging arrangers. Sal's quartet comprises Eddie Record- IP 712) 2.80 group in which clarinetist Hubert Though I would have wished for bass; Mel Lewis, drums. It’s a Costa (t ibee and piano); Jimmon 2 80 Rostaing replaced violinist Steph m -re extended solos and a less ar spirited session, with everyone Gannon (bass); Jimmy Campbell George Wallington 2.80 blowing well, especially the b'az- (drums). They’re all competent 2.80 ane Grappelly. To this unit, Alix tificial air to some of the writing, My Funny Valentine; Alone To 2.80 Combelle was added on Nuages and the variety of colors plus the con ing Rosolino, whose work lifts thia and the sounds they pi^uce are gether; Autumn in New York; 2.80 Oise aux. tracting patterns of the two crafts tc four stars. Mariano is also out pleasant, but for me the results Thou Swell; Variations; Moonlight 2.80 standing. Au a matter of fact, it’s are consistently dull. The unit 1 SO The other three represent a post men and the alert execution of in Vermont; Invitation ; Racing; 2.80 war reunion with Grappelly and a the musicians makes this a worth worth another star that Frank could do quite well in better cock Hold Me Close; Marcel the fur 2 80 reinstitution of the original quin while package. Best original, I didn’t sing on the set. Bill Holman tail rooms and some hotels, but I rier; Ever Lovin’ Blues; Morning contributed the two briskly func cannot imagine their sustaining $2.80 tette instrumentation. In addition thought, vas Previn’s Claudia. The Iku . 2.80 to the usual force and loveliness notes by Ulanov and Simon, though tional originals. Well recorded. much interest in a jazz zoom, Rating: ★★★ 2 >0 of Django’r. playing, his collection overly cute in the tradition of Vic Rosolino is clearly one of the ina though they have played Birdland. This is the Wallington with ... 2.80 jor modern trombonists. (Capitol The group is a whole and its mem 2 80 (more than most) also shows a tor jazz lineis, do provide ¿ome strings unit that George .ntroduced 2.80 number of varied phases of his art helpful information. (RCA-Victor LP H6507) bere individually are co polite about it the Composei Room in New u> 2.80 their music. Never do I feel any and restless searching for new 12 i.PLJM-1018) Howard Rumsey’s Lighthouse York this fall with Vic Lombardi 2 80 ways to express himself and his passion or for that matter, any (bass); David Uchitel (vinla); 2.80 Joe Roland Quartet All-Stars, Vol. 5 2.80 era through I he years. Good, -olid depth of lyricism. It’s all calm and William Eder (cello), and Joseph 2.40 notes by John Wilson. Recording Gene’s Stew; Spice; Music House; Howard; Claude; Bud; Coop; correct, no matter what the tempo. Cali (violin). Arrangements an 2.80 S&B; Stan A certain amount of fire is es 2.80 quality is better than on most Joyce’s Choice by Sonny Lawrence, except for 2.80 Reinhardt LPs available except Ruting: Iririt Rating! sential to really meaningful com Morning Dew, which is by G<-«rge 2.80 for Clef LP MG 0516. (Angel LP Joe, one of the most vigorously Rumsey*!! Hermosa Beach col munication in any form >f music, Brackman. Fint side ia all stand 2.80 60003) ¿winging of modern vibists and a ony in a set called In the Solo and this combo is lukewarm. ards except for Wallington s own 2.82 Bill Holman and Manny Album 2.80 former Shearing associate, heads Spotlight. Soloists in order are expre-isively changing set of Vari- ... 2 80 Shorty Roger»-Andre Previn a quartet composed of Wade Legge Howard Rumx'y. Claude William wrote the originals. All of them ahony. which is the highlight of 2.80 It’s DeLovely; Porterhouse ; Heat (piano); Dante Martucci (bass);* son. Bud Shank, Bob Cooper, Stu are quite engaging, and are worth the side. Second side is largely 2.80 listening to the album for. A dis 2.80 dove; 40* Below; Yoh Stepped Ron Jefferson (drums). All the Williamson with Bob Enevoldsen, originals, with three by Walling ... 2.80 out of « Drram; Claudia; You Do originals are by Legge (who has and Stan Levey. Oiso present in sent on this rating from my wife, ton, one by French pianist Henry 2.80 ’«omething to Me; Call for Cole; been heard recently on a Blue Note section is naritonist Bob Gordon. who asserts, “It’s easy to listen Renaud, and one by Sonny Law 2.80 to.” So is Muzak. (Capitol LP 2.80 Everything I’ve Got; Some Intics; LP of his own and with Pete First side begins dully with Rum rence Most of the originals an of 2.80 It Only Happens When I Dance Brown on Bethlehem as well as sey featured in Stan Kenton’s rou H6505) considerable substanct and an 2.10 With You; Generiti Cluster earlier with Dizzy Gillespie, his tine Concerto for Doghou.it (re north many hearings. I •■specially 2.80 The Ntorv of Jazz for 2.80 Rating : 6A6A usual employer, on Roost and Con named Howard hen). Claude Children« Young People« liked Renaud’s thoroughly charm . 2.80 Titled Collaboration, the idea of temporary in sessions made in (composed and arranged by Wil ing sketch the album, as planned by RCA- Europe). The originals are all of liamson) is brighter and better and Others Despite the rating, the collection Victor’s jazv chief, Jack Lewis, some linear interest, particularly though the ensemble parts are or Rating: *6666 is very much recommended for the 2.10 was this: “both Shorty Rogers the blues-flavored Spice, which dinary and the work rather over An excellent panoramic intro- quality of Wallington’s playing— 2.80 and Andre Previn led exactly thè turns out to be one of the most af long considering the lack of de ductior to jazz written and nar pianistically it is his best on ne 2.10 of the 2.10 same group of musicians On the fecting quartet performances of velopment. rated by Langston Hughes and ord- and for the quality 7 10 first side, Shorty leads off three the year. Bud (also composed and ar profusely illustrated by excerpts material, But unfortunately Wall- 2.80 different standard songs, via his Throughout the set, everyone ranged by Williamson) is the best from documentary recordings. The (Tum to Page 18) 2 80 2.10 2.4$ 2 10 2 80 2 dr 2 It the Finest in HIGH FIDELITY JAZZ EXCITING NEW RELEASES $2.84
ERROLL GARNER CONTRASTS $2.58 DINAH WASHINGTON CLIFFORD BROWN You Are My Sunshine 2 80 Lover Come Back To Me MAX ROACH 2.80 I've Got The World On A String Alone Together 2 81 7-11 Jump MAYNARD FERGUSON 2.80 Summertime HERB GELLER ? nn Part-Tim* Blues Come Rain Or Come Shine DINAH WASHINGTON 2 80 Rosalie No More What Is This Thing Called Lot* 2 80 In A Mellow Tone I've Got You Under Oarn That Dream Don't Worry 'Bout Me Move My Skin 2 10 All Of A Sudden My Funny Valentine There Is No Greater Love Don't Worry ’Bout Me 2.80 There's A Small Hotel You Go To My Head Bess You Is My Woman Now Misty It Might As Well Be Spring MG 36000 2 SO I Wanna Br A Rug Cutter MG 36002 2 SO MG 36001 <2.00 MAYNARD FERGUSON HERB GELLS* 2 00 LIONEL Sleigh Ride 2 RO Maiden Voyage C HAMPTON 2 in Thou Swell R Silver Rain 2.00 The Way You Look A Alone Together 2.80 Tonight $ Crazy Hamp . 2.80 All God's Children Z Happy Go Lucky 2 00 Got Rhythm Mezz And The Hamp Breaking Through The Willie Nillie Sound Barrier Hymn To Her Serenade To Nicole's II Kahagon 2 80 Lonely Town Mink Coat 2 80 Somewhere Over The You Stepped Out Of 2.80 Rainbow M Elmar The Stock Broker A Dream 2 80 MG 26024 A Room With A View ? 80 honal Hampton MG 26038 4 25 MG 26045 4.25
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a Htooucr or Macuar mcmd covoa«-^ chkagol ounom DOWN BEAT March », 1955 Mardi I n • (quite likely Ferguson) decimat- 1077 KAVJAWC Summertime. Dinah hits hard ** ” f w vv J on Rai^ and her high point As Others See (Jumped from Page 17) of the set, No More. PERSPECTIVES New York — An ingenious ington has fallen into the now Second side is better instro- method of performance im familiar trap of engaging firstrate mentally thanks to the horns and ...... ■ ■— By Ralph J. Gleason provement haa been instituted non-jazz stringmen and expecting Dinah is heard on all three of by producer Chandler Cowie* of them to fit"■ into jazz context, or i the numbers, but she shows here San Francisco—A quick glance at any listing of current The Saint of Bleecker Street. any kind of improvisatory context (as on her other recordings) one top pop records will show that rhythm and blues discs are Each of the 32 members of whatever. The strings, though well limiting characteristic—she lacks the cast i* given a night off to played and intelligently voiced, are diveraity of approach and feeling making an ever increasing dent in the pop music held. Ever witnee* a performance of thr a drag all the way. It’s like roast for some (not all) lyrics. Her ter ■ since last summer when Sh-Boom musical drama. A number of beef with ice cream on top. Who dency is to hit each song hard shot like a rocket to the top of of interviews for the San Francis- co Chronicle on western artists. the principal players also will Se' needs them? on the head; with some songs, it the hit parade and stayed tnere be given lessons in Italian in The clash between Wallington’s works well; with others, this re for lord knows how long, rhythm Every single one of them told me fideli the same thing. Country and west view of a projected La Scala ap swinging, fresh musicianship aided lentless approach by Dinah illus and blues has represented a healthy pearance. be of by Lombardi’s rhythmic ease on trates why Ella, Billie, and Sarah part of the general pop field. ern music had spread outside it's original sphere to the general pub two m the one hand and these three out- are greater because they know Disc jockeys report their audi a ape siders so obviously reading from 1when------and— -----how to— be— —subtle.—. But ences request it, dealers report lic as a result of the mixture of to be the most healthy thing the feel I paper is most annoying. I kept the set ia recommended for that the customers buy it. guys from all over in the army. music business has had in years. could wishing for some horns who could fine, hard Dinah clarity and im- Rhythm and blues, (a modern The same may be happening with For one thing, it has made the other cut the book equally well, but who pact of sound. Brown, Terry, Gel- counterpart of the so-called “race” rhythm and blues. The radio and kids dance. True, it’s a pretty ele descri] would also know how to fit in jazz- ler, and the rhythm section (par- music the record companies used televison and movies and jukebox mentary sort of dancing but it’s units, wise with what’s going on here, ticularly Roach) are good all the to issue), once thought to be solely all hit broadside with no regard better than standing there, gazing sible. You ought, however, to hear this way. Good cover portrait of Dinah, a music bought by the Negro pop to race, color, or creed. at the band. It r for George and the originals. But । (EmArcy 12* LP MG 3600) ulation, now is being bought by Hits no longer are made on re And if they listen to enough r&b your i jazz and strings won’t mix until everybody. mote ballroom airshots from Jim long enough, the elemental rhythm Crow ballrooms and hotels. They’re ana vocal won’t be enough for the stringmen are jazzmen, too. Julius Watkins Sextet Sitnilv Trend Cited made in the field on jukeboxes and (Norgran 12* LP MG N-1010) them. They’re going to want music, Linda Delia; Perpetuations; I A few years back, we had a disc jockey shows. And the kids too. And you know what just might similar trend right after the end of today are scrambled together happen? They might turn to bands Dinah Washington Have Known; Leete of World War II. That one was Rating: more than their parents, or even again. There’s already some indi with the country and western field. their older brothers, ever were. cation of this, and if they do, look Together; Summertime; Come Rain One of the two leading French During a two-year period back out! It will be another crazy era. er Come Shine; No More; Tee Got horn players in jazz, Julius Wat a couple of years, I did a series Loi Of Attack You Under My Skin; There Is No kins, who has appeared as a side Rhythm and blues, as exemplified man on several records, now has somebody like Joni James cut it, by the Chords and by the Penguins, Ö AL’S RECORD MART Rating: ★*★ an LP on his own. He used Frank et al, is coming in for a lot of Foster, tenor; Perry Lopez, guitar; though rd rather Ella or Sarah attack by almost everyone who is D*pt MO A well-recorded Dinah Jams had a ahance to hear it first. Per George Butcher, piano; Oscar Pet a real music fan. But don’t sell it ISM Broadway Detroit 25 Mich. Hollywood session cut last August haps somebody someday can record short. tiford, bass; Kenny Clarke, drums. Julius and John Graas in an im with Clifford Brown, Maynard Fer- The session, excellently record Rhythm and blues may turn out BfTHUHCM LF'«...... *o*k W Bi guson, Clark Terry, Herb Geller, provised dialogue. (Blue Note BLP ed by Rudy Van Gelder, is a re 5053) 1001—Chrt» Connor*—Lullaby» ri Birdland Max Roach, and Harold Lund. laxed conversation with Watkins, 1002—Chri» Connor»—■Lullaby» for Lover* make i Keter Betts and George Morrow Foster, Lopez, and Pettiford solo 1003—Otc«r F*Hiford with Juliu» Wetkin» equipe alternated on bass while Richie CLIFFORD BROWN 1004—Bobby Scott Trio ing well. Lopez emerges further as Th» Sensational 1005—Ruby Braff Swinqi Powell and Junior Mance shared one of the best of the newer gui Aay record advertised aaywkars BLUB NOT* IF*...... ooah SJ.tl the piano assignments First side tarists. First original is by Butch New Trumpet Star 5054—Jutt* Hipp Quintet ia marred principally by Land’s arar —add Etc *• arden airier ELBE — 5031—Wade L*qq* Trio er; Watkins wrote the last three, on BLUE NOTE 5035—Niqhl at Birdland — Volume Three dullish tenor showcase on Alone and the most memorable of all is MJ* deposit ai C. O. 0/*. BLF 5037. 5O3B, 5039 with Cliff Brown, Bieter. Donaldton and a nerve - wrecking trumpet the ballad, I Have Known, which 5054—Gil Melle Quartet could probably be a pop hit if CLIFFORD BROWN w!H 5052—New Sound» from England—O«nk- ART BLAKEY—A NIGHT worth AT BIRDLAND 5040—Clifford Brown, »Iql Gryce Seatet tempus record co. 5044 Elmo Hope with Frank Foster VOCAL GROUPS} VOL. 1. 2. 3. A torrttia 5041—The Amatlnq Bud Sowell ¿OX lit, GtACIl STATION 50M—Urbie Green Seatet NEW YORK 28. NEW YORK BLF 504« CLIFFORD BROWN with • Trio and Quartette | FACINC JAZZ LT*...... „..omll S3.BI GIGI GRYCE SEXTET. I» Bob Brookmeyer Quertet Specials by the j FREE! Morr* |*zz-aeatWy roeerMi BLP 5032 CLIFFORD BROWN NEW IS—Chet Baker—Bud Shenk—Brookmeyer STAR ON THE HORI 14—Bud Shenk with Three Trombone» exclusive arranger for A doKrlpffaa ri eocl moribi |sm record ZON. IB—Laurlndo Almeida with Bud Shank 12—Bob Gordon with Jack Montroie WHb JOHN UW1S. »IGI 11—Chet Beker Sinqi o «i Ui poriHy aribe It. GRTCI. AKT BLAKET. 10 Gerry Mulliqen with Lee Konlta : «'The Gaylords": BLP 5030 CLIFFORD BROWH with S—Chet Baker Entemble with Jack Moat- ION DONALDSON rote ! for IM and prie* write OUINTET. COLUMBIA 11“ JAZZ LFa exh «3.M BLP 5021 CLIFFORD BROWN with CL BIT Erroll Gamer-Gena, Gamer, «W» VAULT JAY JAY JOHNSON Gonest ANNIS HOUSE Stan Kenton’s fabulous new album Cl m—Woody Herman—The Three Hordt ORIGINALS SEXTET. Cl SW—Dar* Brubeck—Joa at StoryviUe 5841 2nd Ave. Cl MT—Buck Clayton—How HI the R "the KENTON era” BN 1421 TarwpRie-Ceprl CL 544 Dove Brubeck—Joaa Goet to Cal- Detroit 2. Mich. leqe Cl 54»—Chat Baker—With Strlnqt We terry e compiei* aloe« ri Kani** Cl 540—Buck Clayton—Th* Hucklobuek CAPITOL 11“ JAZZ Lr»...*««* U.H COMPUTI CATALOG ON REQUEST T 540—Woody Herman Band T 542—Bll'y May—Sorte Moy CAL TJADER Sc tor Heedl c T 543—Ka* Anthony Golden Horn Al SMITH’S HOUSE OF JAZZ *1.50 mlnlmem order. Add 50« paiteqo I 747 UX1N6TON AVI. See your dealerto todayprepaid or order»write anderfor literature *5.03. DopeoN TJADER FLAYS MAMBO and name of neareMef *1.M dealer. ao aS COO ablpamafa. Greaamwn Music Cwrp., 740 Bolivar Road. Ckvoland IB. Ohio FANTASY 3-1A Fociflc Music Supply Ge-. 1143 Ssnte* St, Loi Angel**, C*l. V». w,s UNT MUSIC LOVERS! Bb CLAN RECORDS tan SIN. 71« '<•••• ndsJi* Rare authentic jazz sembri BT MAIL ftJrrúl Ei recordings by America's
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Symphonie
Diac Data Ratings Comment*
XX Tim Perf<.rm MAKERS OF HIGH GRADE BOEHM FLUTES ton will XX capitol r atei ir X/X* and if 12 PIEDMONT ST. BOSTON 16 MASS
FMAMX > SnapAmy THE Tone Heard ‘Round th» World Easj Then, go thia literature Gretsch Spotlight Reenrdei Ree*rdÌM iMrumr Vi.u mi’ lour pei hile th* Sight h "That great Gretsch sound' minute* but not i draws rave of still another Operatic * Vocal drum star, Art Blakey Nexl ptxxuvi oui and
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Rem arSSOKCSCl Seem / BACH- before m ■ e «1,1 «Ut VBS MUI if become I be returr testa Sup Special & Orchestra will be April 1, I UMBMAlOli Ccwwh far blrkHrk • Far In animili at lha maiaar af Jan ud «iaaaiaal farau, the l.lah*miann Jaw hau» tad Or- Perfermaar? <>»•> li htamlhg aaaagh, hut mmhall, Il aia't. The S-F -ololeta arc han Chime» Symphoay ar ★★ la leni ia|q*u«^ )« aalhaatiaita aa Thit will «artife that I am------yeat» ut «ar □ Vowd Line At Nashville Spa NOTE: The »inner VUI Ba Kw/reg Ta .Submit Birth Canitirata. New York—When Earl Bostic ua&icrRflsfpr w cck venient“ 1955 ’ toor “ * wi,imeMer f0 "of SIGNATURE OF CONTESTANT------open? this month at the Celtic room (ThU Moot bo signatura la iak. DO NOT PRIVT. ) thi» competition, will be the week the winner will be in Nashville, Tenn., it will be the ter-, »tiwt l be »ouv Lio* PUr. Omm Park. CoUimU, string of one-niters. March 9. 1955 Mari II CôwÂj iOfaím Town And By BILL MORGAN ------By B«a Terry - From RadiOzark comes news that Grady Martin has been Hollywood — Rex Allen joined New Davie Brian. Vern Ralston, Hoagy signed as music director of the new Red Foley television success Carmichael, Adolphe Menjou, and show on ABC. Martin comes well equipped for the job, what Year’s Jim Reeves Entertains Troops Adrian Booth or a trek to Mis with his best selling Slewfoot Five9- Heath soula, Mont., the first week of Feb records on Decca, plus his experi the summer trade. Roy and his orchest ruary for the premiere of Timber ence on Grand Ole Opry. This will band made .. successful trip to 13-wee) Overseas, Asserts He ll Return jack. Allen e mceed the stage show make Grady, 24, one of the young Florida recently. easts. . . . Billy Strange celebrated his est music directors in the busi- Tour Completed The By BEA TERRY fourth anniversary as a featured Martha Carson recently com in Lon “I’m going back over there as soon possible."’ said Jim attraction with the Cliffie Stone Teddy and Doyle, the Wilburn pleted a Florida tour wuth George b< pre= Hometown Jamboree television brothers, i-plit a recording session accordi Reeves about his recent trip to entertain our servicemen over ¡•how this week. In addition to this for Decca last month along with Morgan, the Louvin Bt others and seas. “We have never had a more appreciative audience, and, the Happy Goodman Family. The The show < n KTLA, Strange* also is on their old boss, Webb Pierce. The show was advertised as the “Mar foreign believe me, you like to work hard*' Tennessee Ernie’s CBS radio pro boys recently completed .1 guest an Armed Forces radio network tha Carson Spiritual Singathon” mission when an audience shows such en- 1 gram five days a week . . . Hank shot on the Pee Wee King TV It played to capacity house** in thusiasm.” Reeves joined a troupe 1disc jockey, reported that Reeves I enny and Sue Thompson were show in Chicago. Teddy, along with exclusi* stole every »how. “Thns» guys want Tampa. Fort Myers, Barstow, and “Not of Hodywood ent» "turners in mid- 1 married in Las Vegas Jan. 29. They Pierce, doing fine with their Swainsboro, Ga. D *'mbe* ano ief'. be piano from good■ country music,” Widom said. are playing club dates and guesting new recording of I’m in the Jail the tr Hollywood, stopping first at Har “They’d hardly let Jimmy off the on TV shows. Both record for Dec- house Now. The tunt w*as penned Martha scheduled to play band,” mon fit id .11 Nevdoundland. stage.' ” years ago by the late Jimmie Oklahoma before her next record “until After first show there, Wade Ray now has a <*ne-hour Rodgers. ing session in Hollywood Blackie shows Bennett, former take-off guitarist R¿eves was invited to join service live radio show Sunday afternoon Covering Hit phenon men at the NCO club where he put from Pasadena. Ray, his band, and with Martha, has rejoined the The Myrna Lorrie and Buddy De Vai group, now known a« “Martha Car will go on an impromptu program. “I sang guest artists fill the hour show . . . have a big hit out with their Ab until 4 aan. for those kids,” he Jim Brown, the movie actor who son and Her Country Gentlemen.” early* J bott recording of Are You Mine? In Nashville, Flamingo film« said. “They wanted to hear things is television’s Lt. Rip Masters on which it seems everyone in the like On Top of Ol Smokey. Ten Rin-Tin-Tin, has been signed to a business is covering. Wade Ray’s scheduled more shooting of Grand nessee Halt:, There Sfandi the out with beautiful new RCA Vic Ole Opry films for television. Most Glass.” . rds. He’ll record first in c&w field Opry artists will be in town this Carl Smith—Loots Talk (Col) tor release, There’s No Fool Like month as a result of the filming. The group then went to France . . Rex Allen stopped off in Nash a Young Fool, and rumor has it fcr a number of shows, including Hank Snow—Let Me Go, ville Feb. 7 for a recording session that somebody on Columbia already Noe] Ball, one of this city’s top ones at bases in Chaumont, Leon, (RCA) or Decca . . . Jimmy Bryant, one has cut the tune and that it should disc jockeys, back from a trip to Chattereaux, and Paris. Then a Hank Hiump*on — New of the country’s top electric guitar be out soon. Miami where he negotiated with Germany Light (Cap) ists, rejoined Cliffie Stone’s group Faron Young recently did a re- more drive-in theaters foi his 1 l rned out to welciin» th* show , Webb Pierce—Mors and More after four month with St ade ligiouc session for Capitol as did taped music shows. Bill Carrigan, Reeves talked, he said, with (Decca) Cooley. Bryant previously* had been Carl Smith fo" Columbia. Carl just formerly a DJ with WSM, has left many boys who always listened to with Stone three years. flew back to Nashville from Dallas that station and with Louisiana Hayride when they were Faron Young — If You Ain’t Tex Williams has a new Decca WMAK 111 Nashville. Bill is work Lorin (Cap) where he played to capacity houses home. album which includes some of his Mattie Holmes and Salty O’Neil ing an afternoon pop show aimed “I think every entertainer should Most Promising former hits on Capitol, Leaf of currently are working the Planta at the teenagers. Hawkshaw Haw make at least one trip to put on Love, Smoke, Smoke, Smokt for tion Dinner club here in Nashville. kins recently did a session with Lome-DuVai — Are lou Mine? Rita Robbins for RCA Victor They shows for those servicemen,” ( Uiboll) twe , Jim Reeve» guested Town Mattie is a sister to Martha Car Reeves said. “They would, too, I Hall Party Feb. 5. He played sev son and a fine entertainer recorded Ko-Ko-Mo. am sure if they knew just how Eddie Dean—1 Dreamed of a Hillbilly Heaver (Sage Ä Sand) eral dates in southern California Roy kcuff, since his return to Chuck Reed of Mercury recent hungry those guys arc < r aom»- Cari Smith — No, I Don't Be the same week and wound up his Nashville from his Alaska tour, ly reported to his draft board in entertainment from home.’' llet t (Col) west coast visit with a recording has been busy with his Dunbar Alabama and may go into the army Reeves was the only country art Webb Pierce—I’m Gonna Fall session for Abbott . . . Gene Autry, Cave resort getting it ready for about March 1. ist to make the trip. Bud Widom, Out of Lore (Decca; Gail Davis, Merle Travis, the Cass 5. Ferlin Huskey — Little Tom County Boys, and Carl Cotner WOULD YOU PAY ...... $1.50 (Cap) played a two week engagement at the Fat Stock show in Houston, To ha»* a round knowledge of chord Among proareuio- the »lise jockeys report Texas, which started Feb. 8 . . . To bo able to trampoM soy tong to ing this issue are Chuck Seer. an» other ksy WÏAM, William»ion. N. C. ; Randy Sandy Young, wh has a two-hour To ba able to aniwra any quettion of c&w show on KTTV Saturday^, harmony Blake. WJJD, Chicago 1 Dal Stal now has another hour each Sunday lard, KCMO, Kanna. City, Mo.; THE LIGHTNING ARRANGER Tom Edwards, WERE Cleveland, on same station. Later show fea u tu O«h mailul a«»!« in tha world that will DO ALL THIS! 150* Wrath of Mu- tures an i ntire pop group . . . Jim ileal Knowiadqa — and You Carry It In Your Vait Fockat and Glen Stutzman, KYOU, Gree my Wakely has waxed Charlie DONT DELAY — Inqulrt at tin/ local ley, Colo. Aldrich’s tune, When She Gets Minie Boalar or tend remittance to TWO MODELS TO CHOOSI FROM LIGHTNING ARRANGER CO. Frostboard $1.50 Plastic $2.00 Tired of You, un Coral Eddie Money II oof inlliDsd Down Beat, which brings you Dean joined the Pee Wee King ¡Ill Chow Str«#*, AHeetowa, Fc thorough coveragi of all facets of group in Cleveland Feb. 18 for a the musical world, is available on week of date*- that took him to your newstand every other Wed Chicago, Boston, Niagara Falls, In Gretsch Spotlight nesday. Read it regularly. dianapolis, and Ontario. Canada. "That great Gretsch sound" Country & Western draws rave of another drum SONGWRITERS) JAMBOREE star, Bobby Rosengarden WE CAN Hilf TOU» We edit, rewrite, make lead mooli aro the l>M(i HI-FI oemoariratior rec ord* for »*e «op wrftw* and puHhhen ,• »tow York CW* Write tee Brockur» Upon receipt of your order for a one year subscription SONGWRITERS to Country and Western JAMBOREE we’ll send you AB PROTECT YOUR IDEAS! SOLUTELY FREE, the latest LABEL X recording by HOLD ALL SONGS, POEMS I TERRY FELL. Then you will be assured of receiving each month for an entire year, your personal copy of "Country and Western JAMBOREE’ -die only publication that brings you all SONGWRITERS the news and features about your favorite country and Tb* ONLY m.«« ♦ tor me . . . HELT western stars and recording artists. RH . . INFORMAT»VI SBUCA Send your subscription to "Country and Western JAM BOREE” today! You will receive the TERRY FELL re cording by return mail. Just fill out the convenient coupon below and send with check or money order for $2.50. Takt advantage of this special BONUS OFFER today! SONG WRITERS BOX "X"—C4W JAMBOREE Bobby, Steve Allen and Grelwh Broadkadert in new “Coral Cameo” finish 2001 CALUMET AVE. CHICAGO 16. ILL. If you’ve been watching Steve Allen’s popular TV show “Tonight you ve Protect your impubished com I am enclosing $ ...... to covet the cost of a ...... ye«r/s tubscription position» We will get your to JAMBOREE and...... record. I understand that if I am a subscriber the already heard the highly competent drumming of Bobby Roerngarden, newest new subscription will start upon completion of my present one. A ...... check, drummer to “go Gretseh”. Bobby, an NBC staff musician, formerly with Copyright for you for a small ...... cash...... money order tt enclosed for payment. I want □ 45 r.p.m. □ 71 r.p.m. Henry Bu«se, Alvy West, Milt De Lugg, also recorded with Hugo Winterhalter charge only. Please send the album and the subscription to: Professionals everywhere respect and compliment his progressive idea* and For Further Information Name ...... solid technique. “Reason I go for Broadkasters is ‘that great Gretsch sound’ - it never lets me down." Try Gretsch drum* yourself nt your dealer and you'll HOLLYWOOD COPYRIGHT Address ...... SERVICE know why so many popularity poll winner* play Gretsch. Write for free new Stat* Gretsch Drum Catalog to Fred. Gretsch. Dept. DB-39S5, 69 Broadway. 4424 Santa Manica Boulevard 3-9-55 Ee-nri, Hill*. Californie Brooklyn 11, N.Y. March 9, 1955 DOWN BEAT 23 Flagstad Appearance Heath Tape THE HOT BOX To Help Symphony . By George Hoefer New York—Kirsten Flagstad is Due For U.S. coming out of retirement to sing New York—Paul Barbarin, New Orleans drummer and with the Symphony of the Air in veteran of the King Oliver, Luis Russell, Louis Armstrong, an all-Wagner program March 20 Broadcast in Carnegie hall. »een New York—As a result of the and Sidney Bechet bands, finally is attaining some of the The Norwegian soprano, who sion successful Christmas and New recognition that long has been dueG-——------made three “farewell” appearances 'hat Year’s programs recorded by Ted him. A year or so ago he left two sticks and a couple of forks on New York’s concert and opera Heath for use by NBC, the Heath Chicago’s Jazz Ltd. and returned from his mother’s kitchen. Next stages in 1952, will donate her his orchestra has been signed for a to New Orleans with a determina door lived a woman who insisted services to help the Symphony of p to 13-week series of half-hour bread tion to organize the best New he was disturbing the peace, and the Air (the former NBC Sym Orleans jazz band he could find. easts. when he didn’t stop at her com phony orchestra) raise funds to This winter Barbarin’s New mand, she called tne police. Paul sustain itself. The shows, to be taped by BBC Orleans Dixieland band has been was jailed, and when he came be in London and shipped here, will com- a hit at Childs’ Paramount on fore the judge, he was asked to and parties at Milneberg resorts orge be presented in a choice time slot, Times square with their “parade prove he could play drums. This according to NBC officials. with Sidney Bechet and the late and style” that really swings. They ne did so well that the judge, in Buddy Petit. Paul is another New The series marks the first time a The have what Wingy Manone so often stead of imposing a fine, gave him Orleans musician who says Petit foreign orchestra has been com Mar calls "that New Orleans drop.” 50 cents and sent him home. was one of the greatest. He also missioned to record in this manner ion.” Paul was born in May, 1901, in Barbarin’s first professional en heard Buddy Bolden when as a exclusively for American audiences. is in the Crescent City, less than a year gagements were with a jobbing small boy he hung around back of and “Not too many people realized after Louis Armstrong came on string band, in New Orleans in Perseverance hall to listen to the the tremendous impact of this the scene, and, like Louis, one of 1915, called Johnny Prudence’s Paul Barbarin band. Play band,” Bob Wogan of NBC said, his first experiences in music Jazz band. Among others, the band When StoryviUe closed in 1917, iord- “until we did those two special suited from involvement with the featured clarinetist Albert Nicho ville before he took up horn play young Barbarin made his way to ickie shows over the holidays and got a law. las’ uncle, Joe, who played cornet. ing. Chicago and got his first break in a l ist phenomenal reaction to them.” Hailed Into Court Paul’s favorite drummer was The famed Olympia band, with music there in 1918 when Roy the The first Heath show probably Before he owned a drum he Red Bolton, who had been a mem Freddie Keppard, saw Barbarin in Wolfsgele, a trumpeter, got him a Car will go on the air in late June or used to sit on the front stoop of ber of the vocal quartet Armstrong and out of the group several times. job at Rinsberg’s, 39th and Cottage ien.” early July. his home and play rhythms with sang with on the streets of Story- He also played many picnics, balls, Grove, with pianist Clarence John film« son’s band which accompanied blues rand singer Edith Wilson. Most While on this job he met Eddie this Venson, the trombonist with the ling. IT’S Original Creole Jazz band, who got i top him a gig at the Royal Gardens p to with a band Bill Johnson was get with ting together. This group included his Lottie Taylor, piano; Johnson, igan, bass; Venson, trombone. They later ANOTHER got King Oliver up from New Or i left with leans to play cornet with them. rork- Hot Jazz imed Paul joined Oliver’s band, at the law- King’s request, on Christmas eve, with SWEEP 1924, when Oliver opened at the Fhey Lincoln Gardens. The job lasted half the night—until a Christmas eent- tree caught fire and flames de d in stroyed the hall. There followed a irmy long period with Oliver during the FOR time Oliver was on the decline. Barbarin was with Oliver’s Dixie Syncopaters at the Plantation and tord also accompanied the band on its ill-fated trip to New York. In recent years Paul has played around New Orleans a great deal of the time. There were trips north for jobs with Red Allen at Chi Mu- cago’s Downbeat club and with Selmer Sidney Bechet in Springfield, Ill., back in the early 1940s. Much of his time in New Orleans was spent leading his own band, but this year with came nis first trip to New York with his group. While in New Y«rk he recorded for Atlantic Records with his band, including Lester Santiago, Les Brown piano; Danny Barker, banjo; Wil lie Humphreys, clarinet; John Brunious, trumpet; Bob Thomas, and his Selmer Reed Section trombone. Bonnemere Sets A Full Schedule New York — Eddie Bonnemere Hear them in their and his jazz mambo sextet have a full schedule of one-week book Thrilling "Live Performance" Recording ings ahead. Bonnemere, who appears at the "CONCEPT AT THS Loop lounge in Cleveland during the week of Feb. 21, will return PALLADIUM" to the Loop for another week May 16. On March 4, the group opens a week’s engagement at the Man hattan center in New York, fol lowed by one-week dates at the Comedy club in Baltimore, starting March 7, and the Waluhaje hotel in Atlanta, Ga., beginning March 15. Berlin Ork Conductor THE LES BROWN REED SECTION: Dave Pell, Sal Libero, Butch Stone, New York—The Berlin Philhar monic orchestra will be conducted Les Brown, Ronnie Lang, Abe Aaron. All Play Selmers. by Herbert van Karajan, German conductor, on its first postwar tour of the United States and Canada Selmer Elkhart, Indiana Dept. C-31 Feb. 23-April 5. Van Karajan will Again and again...year after year...it’s a Selmer Plcaw «and your FREE illuthalad brochura doKribing tho many take over the baton of the late. sweep with the reed sections of almost every leading Wilhelm Furtwaengler. inish feature« of tho new band! The reason is easy to find; you play better when iu ve you play a Selmer. Be convinced. Listen to Les Brown’s C Selmar (Pari») Mark VI Saxophon« □ Selmer (Pari«) C-T Clarinet BASS PLAYERS iwe«l reed section...and hear, before you buy, the kind • eaaplet* liae far haee. Tha Faaaoa APIO with Q Selmer (Pari«)______BAS SKIT APTO Siriaca (Safraaaht*« of tone, technique and intonation you can obtain on (Other Inttrument) ehatea), Metal Stria«» (Max Wa,aa'a ehaiee). alter. a Selmer. Then—for the thrill of a lifetime—visit your Caane Caren (alea epeelal ataea), Abm, i and MIkea Baaa Gaitan. Recorder,. Dol Hee (to Selmer dealer and try the superlative C-T Clarinet and NAME______order). Amaten Sap. Baaa Methode. Soeta ind’— Toota, Ad). Bridgee, I Stria* Exteaatoaa, the fabulous new Mark VI Saxophone...they’re Saeadpotte, Pasa, Beata. Sanaa, tu. ton’ll ADDRESS-______unquestionably Selmer's greatest! Do it—today! Sead far free literata» • new APTO "*• haeaaaoa'a Meed" Iway, c in------ZONE______STATE______4B-M 47th Ave., L I. City 4. N. I. Tol.: IX 2-4444 Mai DOWN BEAT March 9, 1955 Pulitzer Winners On 'Symphony Of Air' "Daum 'Dcdcouezd New York—A ‘pecial senes of America: music entitled “Music H by the Pulitzer Prize Winners,” Alti (Jumped from Page 1) Rones in answer to requests from (Ed. Note: With thi* issue. we inaugurate a new department that Aus the floor. For a closer, Waring of- is being presented at Carnegie hall fine sounding 16-voice choir. will t|H»llighl talent we think is ready to move up the ladder but ha* so .ind After several years of concen fered the enthusiastic crowd a de by the Symphony of the Air. The far not had the oppurtunity to do so. Down Beat Discovers will appear luxe edition of The Battle Hymn first of these concerts were eon- Run trating on TV, the Waring crew is frequently.) h««ui now offering production numbers Of the Republic. ducted by Howard Hanson on Feb. Phyllis Branch; Blue Angel, Chicago ton which make use of many TV for The entire production was as andlzler Solomon on F eb 20. two mat ideas, yet retain the Waring America: as a Norman Rockwell Dean Eckertson will lead the or- Neither a youngster nor u new sound that is so fannliai to mil ehestra on March 6, and Leon comer tc the entertainments, Phyl Stei Sateve Post cover, and it easily lis Branch haa been recording for Cali lions. A salute to our American falls into the category of whole Barzin, on March 13. heritage opened the program, Charles Ives, Aaron Copland, such -bscure labels as Tuxedo and proj some entertainment f. «r young and playing some of the lessei known how which wound its musical path old alike. Much credit must go to Douglas Moore, Quincy Porter, through a collection of spirituals William Schuman, Howard Han cabarets in the east. In thi- sense PSI the individual artists and ar she is no discovery of ours. How City that featured a recreation of an rangers who names have been as son, Waltei Piston. Gian-Carlo old-fashioned southern camp meet Menotti, and Gail Kubik are among ever, Down Beat feels it is well Bak sociated with Waring ngamzation past time for her rich voca talents new ing. Of course, there had to be a for many years. Singers Patty the composers represented. minstrel show, an it was one com ta be given greater attention and, cate Becms, Dee Harless, Frank Davis, "You’re so dull, my love.” plete with appropriate jokes, cos if possible, exposure, up Gordon Goodman, Bob Sands, and Portia, incidentally, frequently tumes. and some clever lighting ef Not the least of her gifts is a Mar Eddie Ericson, and arrangers Roy writes special material for other kaleidoscopic range, something like play fects. Ringwald and Hawley Ades all de- acts and has helped in the stag The second half of the program Yma Sumac's. Shi has ii larrup cam serve plnudits for the fact that । ¡ng of reviews, From all perspec ing, rubbery voice that whips from was devoted to a collection of lui Waring wore well in Vegas. tives, she is a remarkably valua labys and love songs, then con register to register, the textures __ Iwnry lew* ble member of the night club and cluded with Granada and Dry varying in a phrase from heady 7 stage scene, and she also brings aud high to throaty and deep, from to it a distinctive type of beauty" oughly hewn to tenderly refined. Johnnie Ray: Ciro's, Hollywood and charm that deserves wider ex- These are not self-consciou« colora This date marked the Weeping heads as though to say, “Can this posure on television. tions for gimmick effect, but the Wonder’s first loca’ appearance guv bt foi real’” Making their first night club electrical essence of a genuine since his film deb«it in Show Busi Only “nt w” item in Ray’s «mg- appearance anywhere are the style. Her inflections are to marvel ness (Down Beat, Jan. 26), a fact bag is Alexander’s Ragtime Band, Larks, n »’ale quartet with piuno over, and her songs pack a wallop that may or may not account for his “big number” in the film men- accumpiiniment. Two of its mem- at any level. the sellout business he was play tioned above. The rest are mainly b®rs are graduates of the Golden In her present showeasing, she’s ing to every night at this writing. the songs that brought him a kind 9uartet, an ’ tw > are nlumni fairly restricted to an East Indian Whatever it is. eludes this re- of fame on records—Little White °f ’b King Odum quartet. They selection in a Calypso revue. Ac wander w.th w.de -amles through view’er. Cloud. If You Believe, Walkin’ My cordingly she chirrups lush ver baby Rack Home The Meaning of » i »utinv and overlong set of stand sions of Oye Negra, Babalu, and Rav had added nothing to his Love, Cry (yes, even that one!) He J/1 nout a Song, There doubtful value as an entertainer Cumbanchero. When she doe- get literally fawns over his listeners Are Such Things, St. Lotus Bines, leave foi a single blues number, since he hung up some record hits in appreciation for their applause und smoothened spirituals. on the strength of his unique— I’m in a Lowdown Mood, she sings —or willingness to sit still and showmanship, musicianship, it tearfully and with great impact, Phyllis Brunch some might say freakish—style of listen to him—and he ought to. a"d c1»01«5. of repertoire, the Larks delivery. Yet the applause and not »verdoing the dramatics. He’s a luckv guv' offer nothing new, and except for Miss Branch’s jazz and general cheers he drew on almost every Imperturbable Dick Stabile and an unusually resonant bass then repertoire is extensive, and she is number from the majority of pay the impeltuibable members of his debut offers little promise for much giving her first lecital in thi Blue House Of Music' ing patrons- and at Ciro’s those house bund gave Ray their usual 5UCCe88 »nsiderable thought Angel on the afternoon of March who pay anything pay plenty — excellent support - but after all, ,s *9 ». freshened approach 20. seemed sincere. Only - few hard they get paid to go through this. to their night club pursuits. In Stereo Accent heads just sat back shaking their —emge Chicago — House of Music, a Al Ballotto Quintet; Blue Noto, Chicago three-hour Saturday afternoon mu Lucille Reed; Village Vanguard. NYC Stan Kenton’s newest proteges, well in many music spots-- cocktail sic series on radio station WMAQ Lucille Reed is making her first the Al Belletto quintet, may event lounges big and small, theaters, in Chicago, changed its format re appearance on the New York sup ually become a successful group niteries, .«nd the like. But in a jazz cently putting an accent on stereo per club scene after several years commercially, but they are going room, they spread themselves too phonic sound. i n Chicago, where she won an in to find the going pretty rough on thin by doing vocals, mambos, Ger The entire series is being broad Yes. creasing following, compose! in the big league type of jazz cir ry Mulliganish arrangements, Ken- cast now in stereo sound f om ex significant part of musicians and cuit that the Blue Note repit sertta. tonish arrangements, and small perimental binaural tape record show persons. It was Robert Clary Group is Composed of Belletto, string band arrangements. Bel let to ings, hi-fi disc recoiding.. and the true and Leonard Sillman who called alto sax; Fred Crane, piano and proves to be an able alto saxist, live music of the NBC Chicago or her to the attention of the Van baritone sax; Jack Martin, bass, but the rest of the group is just chestra directed by Whitey Ber- y quiat. The show is emceed by disc guard’s Max Gordon. trumpet and French horn; Jimmy competent, with the exception of sym For the last three years, Lucille Guinn, trombone, and Bama Mc pianist Crane, who show's a devel jockey Tom Mercein. had been working the Le’ Aloha in Knight, I ruins In addition to all oping and impressive jazz talent. The new series in un uutgiowtn Chicago on Monday and Tuesday | the doubling, the group offers Me The group may remind you, as of New Dimension, a local NBC nights, and before that gig, she’d Knight as a singer, and they all it did us, of a more modern, five- program which pioneered stereo tom been featured at the Streamliner combine on some five-way vocals. man Four Freshmen, but still lack sound on ladio, requiring the con with Lurlean Hunter and Les All this versatility, combined ing in the onstand poise and polish current use of AM und FM sets for b a full 3-D effect. Strand. A pro for some six years. with the group’'- obvious eagerness and palaver that the Freshmen play Lucille comes «riginally from Iron to succeed and please, will set very have developed. —jack Mountain, Mich., and her »nly formal vocal training was obtained Sylvia Syms; Cloister Inn, Chicago Arabian Nights' in high school. Among the several prominent Other Words, My Woman’s Intui SOOI On the basis of her Vanguard Cloister Innmates during the bis and tion, You Can’t Have Every tl debut, she should have little trouble tro’s two years as a jazz academy, thing, All of her numbers are fine Back In Spring becoming a regular on the Van none has had quite the wowing vehicles for her, and she does the New York — Guy Lombardo’s guard-Blue Angel-Ruban Bleu cir Lucille Reed powers of Sylvia Syms. Parlay, for utmost with all. Arabian Nights will return next CO1 cuit. Her basic vocal quality is not instance, her strong and flexible There’s a rich vein of the Sophie summer—June 23 through Sept. 5 strikingly full-ranged or tonally matic projectic n that many of the voice, smart sense of jazz with per Tucker brand of showmanship in —to the Jones Beach Marine am C.( opulent, but her taste and musi supper club sirens in New York haps too good a flair for accom this gal, resulting in her turning phitheatre The outdoor extrava cianship are of such imaginative have adopted By contrast, then, panying dramatics, quuk wit, and out a superb performance on the ganzu will bi* directed by Leon flexibility that she surpasses a Lucille's penchant for allowing the ntime friendliness- -and it adds up most restricting of stages. She’s Leonidoff, senior executive pro good many other night club singers drama to come from inside the song a -»tout helping of v ifual and the kind of entertainer who can ducer at the Radio City Hall. more generously gifted by nature. is refreshing, but eventually she vocal enjoyment that builds a fol- quash crowd noises with the first Th« disappearing water ballet Lucille’s skillful phrasing, based will have to accent her gestures, lowing. note—the same crowd noises that and the tean of acrobatic snake on her tender care for lyrics, and facia, an«! body, somewhat more to Where most girl jazz voices em have quashed a few previous ring dancers will be retained, u few her subtle beat make her a singer cut through the conversation up ulate that tenor sax sound, Sylvia's ers at the Cloister. more spectacular acts may be seem* naturally akin to the alto, added, and there’s a possibility of quiet distinction. town. That’s why she broke attendance Miss Reed makes the best pos In terms of records, Lucille could and her control of its nuances is that Lauritz Melchior and Ralph exceptional. Her present repertoire record her last time in these en Herbert may be back in the show. sible use of these attributes through well build up a relatively small but virons and why she’s back for an her superior choice of repertoire in steady musical corps of collectors is the sharpest she’s brought to the A tour of arenas is planned f >r Windy City yet, having in it, eight-week tenure now. She follows the mammoth entertainment after tastefully spare arrangements by as has Jeri Southern, but I doubt this stand directly with a repeat Chicago pianist Dick Marx. Out if she’ll ever make the charts. She among what have become her the Jones Beach engagement. standards, an assortment of fresh at the Village Vanguard in Goth standing in the show caught were currently is unsigned. Lucille also am. . Because We’re Kids, Bart How has Broadway potentiality, espe and seldom-heard tunes like In cially in the context of an imagin ard’s folk-like My Love Is a Wan Four Joes, Jimmie Komack, Phyllis Inos; Black Orchid, Chicago Marian Anderson derer, the blurs-tinged Smoking ative review like New Face*. At My Sad Cigaret, the unjustly neg the Vanguard, Miss Reed is ex Four personable yo BOSTON—Dave Brubeck packed Rn« Artists Hancock hall for two-show con cert on the 5th . . . Stars of Bird land kicked off tour in Symphony Hall with Basie band, Sarah Vaughan, George Shearing quintet. Stan Getz, Erroll Garner, and Les ter Young on the Ilth . . . Dizzy Play Gillespie presented one of the swingingest small groups to hit town during his week at Hi-Hat. Johnny Smith teamed with Ink Spots for a quiet week following Diz . . . Modern Jazz Quartet plus Max Roach - Clifford Brown package now in Storyville, with tic, a Duke Ellington due in on 25th. Bird n mu- and Basie slated to follow . . . The rMAQ Stable planning to enlarge their at re ...THAN ANY OTHER MAKE! room due to success of jazz policy ite reo- with Jazz Workshoppers, featuring Herb Pomeroy, trumpet; Vadri broad- Yes, mon top professional trombone artists Hartitunian, tenor, and Kay San- in ex- play CONN than any other make — tisi, piano. ecord- Nick Jerrett has moved his trio id the true today as it has been for many, many into the Stuirt Manor, with Shelly go or- (Turn lo Page 26) Ber- years ... whether the requirement is for y disc symphony, radio, TV, or jazz! Only a CONN Chis Lyric Theater ■rowth trombone offers all the important advantages in NBC stereo tone, intonation, and craftsmanship. The artists shown First Year Success e con- Chicago—This city’s only and in ;ts for below are typical of the thousands who own and fant opera company, the Lyric play CONN regularly...because CONN is best! Visit Theater, wound up its first season with a deficit of $13,958, which, your CONN dealer and try a new CONN since red ink was expected, repre sents an auspicious start for the soon — or write CONN for literature ... new company. It had been unani there’s a model for every requirement! mously saluted by the critics and I received immediate national atten ardo’s tion for its star, Maria Callas. next CONN BAND INSTRUMENT DIVISION The debt will be paid by the lept. 5 opera’s auxiliary the Lyric Guild, e a rn- C. G. Conn Ltd., Dept. 171 Elkhart, Ind. which embarks on a $300,000 fund tra va- raising drive this spring for the Leon coming season. A new 24-perform- pro ance schedule has been devised with li. several money-saving factors to ballet reduce operating costs without snake compromising quality. Managing i few director Lawrence V. Kelly said ly be the company would not try to meet libility expenses by raising ticket prices. Ralph show, Bop SIMMS id for after $2.25 FMr TURK MURPHY EMORY REMlNOTON . BLAISE D. TURI Clear er DON DRILLO ROMBT RADA MARK McDUNN — 1M«d leeaer € 1st and solo trombone, Leader own "Circus Jazx Great trombone instruc Fine N.Y. artist, Conn Fine 1« trombone, for 10 Former 1st trombone Free (Mee * Ladle») 4 H user 10 years, cur years with ABC staff- West Point Military for 9 years with CBS Band," Conn user 6 tor, Eastman School of Irowa or Slack Frantoi Chicago, Conn user 25 Academy, now assistant staff Chicago, Conn user years,I, now playing Conn Music, plays Conn 88 H. rently playing Broadway years, now playing Conn 1st trombone Chicago 18 years, now playing 32 H. Musical "FANNY.” MITON SAUS CO. 38 H. Symphony. Plays 8H. Conn 12 H. 11M I. 14*1 S*. C.O.D.'t accap lerson, debut ia! ap- SPREADS FARTHER n Jan- LASTS LONGER it next n the HOLTON nother OIL of the Inder ices of A is sea- rafia«, ««itarm coaelet- » to fit RILL HARRIS NEW YORK FHHHARMONIC TROMBONE SECTION, 100« Conn equippedl •acy—Helfe« Oil tw«* recital Consistent Down Beat Left to right: ALIEN OSTRANDER, plays Conn 70H (bass trombone); and Metronome Poll GORDON FUHS, plays Conn 8 H; LEWIS VAN HANEY, plays Conn 8H. AU are lor laatremoat ««Hm. winner for several years, outstanding trombone authorities and artists. dates uses Conn 6H. leaves •r first dll re in will I dates. WORLD*S LARGEST MANUFACTURER OF BAND INSTRUMENTS D THIRTY CENTS PER WORD MINIMUM TEN WORDS Classified Section • ItNITTMCt MOT ACtOMPARV COPY - (Mill NM», AtMESS, CITY MB STATE. MUSICIANS • KAMINE: I WHU HUM T* mUCATKM. • MX UNIE* SERVICE: »t EXTRA. NEW LISTINGS THIS MONTH FOR ALL INSTRUMENTS 4*3—MAMBO PIANO BASS Au FOR PIANO ARRANGEMENTS MISCELLANEOUS thentic left-hand mambo styling 4*1—HOW TO USE FOURTH IN Ce*. Na TERVAL PASSAGES New • MODERN PIANO TRENDS • WRITE SONGS ? ? ? Read "Songwritev 372—NEW STYLE AD-LIB SOLOS DIXIELAND ARRANGEMENTS 75c each. Zep idees tor the ad-lib instru- An instructive Monthly Publlcatior Review" Magazine. 1650-DB Broadwa: Modem themes with ed-lib Meissner. 5015 Biloxi, North Hollywood. for Progrouive Musiciens teke off. For all treble clef in. Calif. • Modero Chord P" egression • strumenta (chord symbols in Now HarmoaiiaftoM of Stoederd cluded) ...... $1.25 OtDTIME ARRANGEMENTS Polkiu FOR PIANO 371—MODERN BLUES STYLES. New Waltzes. Shottisches. $2.00 each. Custon style blues examples for all arranging also available at reasonabh treble clef instruments 75 rates. Write "OOMPA” 1120 Selby Ave. 4«2—PIANO FILLERS. 12 pogos of Runt, Intro,, B r • • k s, HALL'S HANDBOOK of Musimi Formula Endings, that can bo used COMBOS I I F'ull »«ounding arrangement: a reference collection of Riandarti melo with all currant and stand, 47—MODERN RRRAKS Uo-to dete written especially for your instrument» dy-harmony progressions for -omposers. ord hits .. B1.2S breaks in ell popular keys. (For tian of: Trumpet, Tenor, Alto. Rhythm all treble clef Instruments) Libert Raitnnen, 8 River- Cot. No. or TrumpeW Tromixme. Tenor Rhythn ST—HOW TO MEMORIZE MUSIC. or Trumpet: Alto, Tenor, Trombone Maynard. Mass. 4«— DISCENDING PIANO RUNS. Optional) For the right hand. Madam Mt—PLAY POPULAR PIANO BY clses that develop end improve -uns to fff Ihn most rill «hord the copecity for memorising ORCHESTRA STATIONERY - comblnatloni ...... CHORDS The sensational -a cards, placards. Sample». Walter Stuart system of pl- music ...... O. Box 664, Pottstown. Pa. «04—ABCENDING PIANO RUNS. *(«—SIGHT READING TECH AT LIBERTY For the rlghl band In all NIQUE A tested practical pewter keys ...... method that will impreve your 1« 84« COMEDY LINES, hit«, par xUea USE ink AND ploying from lend shoots. sight reading ...... AYID JAZZ and Music Fan wishes job in tines! Free Catalog. Write: Orben. Examples of Ut* CHORDS. For somi-odvoncod pionists *02—PROGRESSIVE JAZZ PAS music or recording business. Age 24. |1<-II Blvd., Flushing. New York. applied to and music too chars. For Single. IMwn Beat Box 730, 2001 Calu merly SS.H now only...... $1.M SAGES. Typical Be-Bop ex met, Chicago. emples In oil popular keys... RECORD^ 374—MODERN CHORD PROGRES -IMPROVISING HOT SIONS FOR PIANO. How to PLAYING Hm transform sheet music chords FOR SALE provisatlea patterns shown m 'FLAME'' on Pyramid by Buddy Costa. U>. Into modem extended chord M-THE BLOCK CHORD STTLB. positions ...... SI .00 all chords. A chord Index lo breakable 45'» and 78'« $1.00 postpaid Full explanation end exomnle: cates many |au phrases for any anywhere. Perfection Music Publications 37*—PROGRESSIVE JAZZ PIANO of this modem piano style, chord combinations SI .00 ORCHESTRA COATS Whdi Double- (BMl) 1429 Hawthorne St.. Pittsburgh INTROS. Proiession,. Introduc. including e block chord her- 52— HOW TO HARMONIZE MEL hrenoted .36.00 Blue Shawl Collars 38.00. 1. Penna. lions in the modern manaer |1 00 -oin chert Si W ODIES. The principles of im Tuxedo Trousers tropicals, woolen« — 10—MODERN PIANO RUNS. IM R.dw.sl -1.00 FREE LISTS. Wallace 45—MODERN PARALUL CHORD provising correct harmonic 2453 N, Halsted. (Chicago. FREE MODERN JAZZ listing«: PREE 1-» t professional runs on all chords SI .00 PROGRESSIONS. The har progressions for eny melody »1 »0 iw; fast, personal service, APO’s, EPOS 4*—PIANO BASS PATTERNS. A monic background lor modem pieno styles. How to creete 01—CHORD CHART, 132 popular our specialty. Meade Music, 6018 Hender variety el left-hand figures on sheet music chords.... 50 son, Chicago 34, III. ell chords ...... ,7B the New Sound" In harmo ORCHESTRA COATS, DOUBLE BREASTED nizing basic scales JO 343—THE 12 TONE SYSTEM. Expla SHAWL 54 SINGLE BREASTED 37 TUX 40—1 Ito CHORD ARPEGGIOS. 375—ULTRAMODERN HARMONI nation and Illustrations of th« EDO TROUSEES S« CALE, 1270 JEFFER FREE CATALOG Hard-to-Get Jazz Ree 132 Ilth chord runs, the mod modern atonel music style . ,5# SON, CHICAGO, ILL. em substitute for 7th chord» JO ZATIONS. How to create new ord* J. Rose. 211 East 15, NYC 3. style effects through uncon 14—HOW TO PLAY BEBOP Full MB—MODERN JAZZ ACCOM- ventional uses of harmony »1 M enelysis, theory end many ex PANfMENTB How to pley off- amples .... SI SB beet bop pieno beckgrounda. JO 3RB—EXPERIMENTAL JAZZ SOLOS (tor piano!. Frosh, beyond «07—HOW TO UH AR MON I ZB «12-CHORDS BUILT BY FOURTH the conventione’ shop - worn SONGS. Instructions In find INTERVALS. A chart of ultra phreses, looking to the future SUB ing mor« modem substitute OHIO MIL*IM • SHITE 4*2 modem 3, 4. 5 end 4 note 377—PROGRESSIVE JAZZ PIANO chords for convention«! sheet chord» and how to substitute mueic harmony .71 UV S. WIM« AVE.. CHICAGO S, III them for conventional chords SI 0# SOLOS. Perfect examples of the new contemporary stylos St 25 374—LESSONS !N MELODY WRIT *40—NEW CHORDS FOR STANO- ING. A new epproech in de SCHOOL OP PERCUSSION AND MUSIC ARD HITS. Exciting, differant 378—MODERN PIANO RLUES PAT. TERNS. veloping the skill of melodic The fUeil pvnlesslonx! leaching staff In the country, coupled with over twenty Men of harmonizations of ell Invention...... SI. 2* known all-time hits .. blues improvising . ... .75 Instruction using Iha moel modern practical methods, amrei you of Me training 43—C HORD CONSTRUCTION 43—PROGRESSIONS IN 13th Of—MODEBN PIANO INTRODUC AND ANALYSIS. How to usa necessary In reach your goal The Knapp School specializes In ell hr arenes «1 per. CHORDS. Examples end exer TIONS, in ell popular keys SI.00 chords es fill-ins. background cusslon. piano voice. Iheory end ell orchestral instruments cises showing ell verietions cf 44—PIANO ENDINGS Two end for correct Improvising etc.Sl 10 13th chords as «sad In modem one measure end ngs in ell 04—MODERN CHORD BURST ITU- ran m ihfmmxtioh Amove* to* «mean vets tiaihim mule ...... popular keys ...... M TIONS, chert el chords that All INSTRUCTION UNDER SEMEME* HOURS 44—PROGRESSIVE PIANO HAR 11—MODULATIONS. 2 end t meal may be used 1« piece of eny MONIZATIONS. T^o modern we bridges leeding from end reguler major minor and 7th wey ol hermonlxing ant mel to ell populer keys II 00 chords B0 ody note using unsMventlonal 44—NEW CHORD STRUCTURIS 41—HOW TO TRANSPOSE MU chord Ie motions This chert shows the bests for SIC, ncluding special exer 344—MODERN CHORD APPLICA. 1152 unorthodox modem chord cises to proctice transposing TION. How Io use fourth chord, structures thel cen be used in at light ...... »1 50 ♦fh Ilth end Ilth chords In piece of conventionel chords -BO modern |eu pieno styling.. «15—DICTIONARY OP 13th FOR GUITAR 370—SINGLE NOTE FIGURATIONS CHORDS. A chert 5« 132 ex DOWN BEAT FOR STANDARD HITS. Typicel tremely modem 7-part chords .50 347—UNUSUAL CHORD POSI modem pieno ed lib verietions Ml—PROGRRSSIVB PIANO PAT- TIONS FOR G U I T A R . 744 epplied to songs...... TRRHS chords in diagram and nata 373—EXPERIMENTAL JAZZ IDEAS □biases la all popular keys tion (by Norman Elliott). .. Offers you 26 exciting issues for only $7 00 saves you $2.10 Polytonolity, counterpoint end 342—GUITAR RUNS. Modern tech the 12 tone system epplied to B»-MODERN BLOCK CHORD PROGRESSIONS. Examples nique for improvisation oa all the single copy sale. Act now and don't miss all the good things to end exorcisas tor the progres chords ...... 344—LIFT HAND IDEAS FOR sive oianisf ... 344—OCTAVE UNISON STYLIZING MODERN PIANISTS and how FOR GUITAR. Modern double come; to epply them end triple string sale technique 344—HOW TO ACCOMPANY VO FOR ORGAN end how to apply it CALISTS on the pieno. Six 355—NOVEL GUITAR ACCOMPANI March 23 “2nd Aiinual Disc Jockey Poll' effective styles of pieno ac MENTS. New, different quite- companiments clearly lllue OB— EFFECTIVE HAMMOND OS- rhythm for nferesting smell frated ...... GAM COMBINATIONS, chert combo effects 344—11TH CHORDS POR GUITAR 353—SINGLE NOTE IMPROVISA of specie! sound effects end Hi-Fi Buyer* Aid #3 novel tone rombinetions end how to use them. 440 TIONS. Ad-lib last phraser to modere chords, diagrams. fing fir the most used chord pro 30-HAMMOND NOVELTY IF- erings »otetl.ii gressions ...... UP BEAT. Vol. 1, No. 3 FECTS, a collection of amusing VB2—GUITAR INTRODUCTIONS. 144—MAMBO RHYTHM PAT trick Imitations for ''ontortain- Professional materiel TERNS FOR PIANO ...... ing" organists ... . . 353— SINGLE NOTE IMPROVISA 33—COMPLETE DICTIONARY OF TIONS. Ad-lib jaxx phrases to April 20 With the 3rd Annual Dance Band RHYTHMS. How tn apply orar HAMMOND STOPS, corraci tit the most used chords pro 40 Latin rhythms to the piano. interpretation of organ sounds gressions ...... Directory A Buyers Guide, DOWN BEAT bring* you a new magazine format designed for your best read WALTER STUART mesic »tedia iec. SEE ing pleasure. HEADING FOR “BIG-TIME” THE MUSIC? Study HARMONY HOLLYWOOD PERCUSSION Now, go1 th« «»Ira training «vary top musician seeds th« Modern CLUB and CLINIC Hom« Study Way Harmony and annuuncQR th« publithing jth«i advanced musical tochniqu«* 2091 Sand today for fra« catalog and BRAD SPINNEY'S illustrated la»iom Check courses “ENCYCLOPEDIA thet interest you. of PERCUSSION" UNIVERSITY IXTiNSION A complete Encyclopedia oi CONSERVATORY Dept. E-S42 2000 Be. Michl««» I Drums and related instruments. Chic««« TO. IH. A limited edition of Vol. I, cov _ DANCE IAN i ARRANGING Q IHARMONY Plano, Teacher's Normal Course ering introductions 6 letter "A", j Chore! Cenducting n iGuitar Piano, Students Course will be available seen J History 4 Analysis ad Music ' I Public School Mus—Beginner's ’ Cornet—Trumpet Voice Q ' Public School Mus.—Supervisor's To leserve yum :opy oi Vol. I J *'of ess one Cornet—Trumpet I Advanced Composition send S2 50 to J Double Counterpoint 0 ! Ear Training A sight Singing DRUM CITY dept C 6124 Santa Moraca Blvd. Hollywood 38. California EARL BACKUS WITH HIS GIBSON Yes. over seven hundred recording dates in the past two years, plus regular TV and radio shows. On every one, his reliable Gibson helps make those guitar passages memorable. Earl Backus, like hundreds of other top guitarists, knows a tough schedule requires a dependable instrument. Gibsons are made for dependability . . . their beauty of appearance and tone quality bring repeat performances Inc., Kalamazoo, Mich for their partners. "The Man With a Gibson' is in demand* Trur Drui Clar Tror Piar Down March 9, 1955 Mar Id E the hea —E took Mid the Bam Tl Nori nasii igan Will Te were Karl Universally man, Corp dler, Geor Fore Acclaimed recto Han tors; Bain Harj Yode Th four- at v Bren ieisoi Gold i Rt De Junie his o* tice i litzer a 64 From coast to coast, through less plug« foreign lands, Mendez en be m can c Tht thralls his audiences with his 39^" separ incomparable talent. His Olds ume, audib Mendez trumpet helps project lar ui mittii to hii this talent, as it does for ar set of into i tists everywhere who choose the el the p Olds instruments as their own Des studic Wurli inspiration. trans] mobih cial it F. E. OLDS & SON able, instn Fullerton, Calif. ual t< room. Yoi when How? nage 1955 March 9. 1955 U P American Bandmaster Association Holds 1955 Convention In Elkhart Elkhart, Ind.—A succession of The business agenda of the con ing, 9:30 a.m.; business session for the nation’s top band directors, vention follows: election of officers, 9:30 a.m.; concert, Feb. 16—Registration, Hotel Elk University of Michigan band, 9 p.m. headed by the dean of them all hart, 1 p.m.; membership committee —Dr. Edwin Franko Goldman— meeting, 3 p.m.; buffet supper and took turns leading the University of mixer hosted by Elkhart musical in Michigan Symphonic band to climax strument manufacturers, Empire the 1955 convention of the American Room, 6 p.m. Up Beat No. 2 Bandmasters association here» Feb. 19. Feb. 17 — Committee meetings, 9 This is the second edition of Up The conceit, held in the 8,500-seat a.m.; business session, Empire Room, Beat, the supplement for instru North Side Junior high school gym 10 a.m., for nomination and election mentalists that appears once each nasium, featured the 114-piece Mich of associate members with president’s month in Down Beat. The next is igan band under the direction of Dr. address and talks by Danielson and sue will contain many more out William D. Revelli. Dr. Goldman; business session, 1:30 standing solo examples from the Taking turns as guest conductors p.m., for election of active members lop musicians on each instrument, were Dr. Goldman; Henry Fillmore; nominated in 1954 and nomination of including another Sharon Pease pi Karl King; Lt. Col. William Santei- active members for vote in 1956. ano column and examples for tenor nian, director of the U. S. Marine Feb. 18 — Committee meetings, 9 sax, a Conte Candoli trumpet solo, Corps band; Comdr. Charles Bren- a.m.; business meeting for nomination a trombone solo, more drum ex dler, director, U. S. Navy band; Col. of new members, 10 a.m.; business George Howard, director, U. S. Air amples, and others. It will he in session, 3:30 p.m.; annual banquet, the April 6 Down Beat. Watch for Force band; Maj. Francis Resta, di Hotel Elkhart, 6 p.m. rector, West Point band; Dr. A. A. Feb. 19—Associate members’ meet- Harding, dean of college band direc tors; Harold Bachman; Glenn Cliffe bainum; Kay mono r. vovoibk; James Harper; Arthur Williams, and Paul Yoder. The conceit brought to a close a four-day meeting of the association at which delegates heard talks by CHIRON l& Brendler, ABA president; E. L. Dan ielson, mayor of Elkhart, and Dr. Goldman. New Piano Is VIBRATOReg U S Pat OH Really Gone DeKalb, Ill. — Now you can tell Junior to go practice his piano in his own room, or, better still, to prac : BREEDS tice it in silence. The Rudolph Wur- litzer Company has just come up with a 64-note electronic piano weighing lilial I less than 75 ]rounds, which can be plugged into any electrical outlet, can en- be moved from room to room, and can even be played noiselessly. The device, measuring 2116" by 1 his 39'2" by 794", is equipped with two separate devices for controlling vol Olds ume, one of which makes the piano audible only to the player. For regu oject lar use there is a built-in control per mitting the player to regulate volume to his requirements. There is also a r ar set of earphones which can be plugged into a special earphone jack, making the electronic piano silent to all but the player. „ eVER MADE.- own Designed for use in homes, schools, REED ' studios, hospitals, and colleges, the W’urlitzer electronic piano can even be for SAXOPHONE and CLARINET transported in the trunk of an auto mobile. For group study work, a spe cial multiple unit installation is avail MIX able, with a master speaker at the instructor’s desk, enabling an individ ual to tune-in on each pupil in the MADE IN room. FRANCE You get two for the price of one ASK YOUR DEALER when you subscribe to Down Beat. How? See the subscription coupon on H CHIRON CO mi 1650 Broadway New fork 19. N. Y lage 16 of tlH section. March 9, 195 Clarinet De Franco Talks ,'IANO About Harmony By Buddy DeFranco (E<1. NoIe: The following material appears in De‘Franco’» book. A New PIANO Approach Io Modern Mu»ic, published by tlu G. I < Bl nr Co., Kenosha, V is., thes and copyrighted by them.) take This time, I would like to discuss lear harmonic structure. will I will assume that the reader un pros derstands the basic nature of hai moriy, of the various intervals, and stud the most commonly used chords. Sine, stud the clarinet can play chords only in profi called who upon to play a C chord, the clarinetist will play the notes C-E-G either in their normal or in some inverted form at the player’s discretion. (Fig. 16) Now, we can elaborate on this sim ple chord by adding the sixth (in (C?) the case of the C Major chord, the sixth would be A), or by adding the ninth (D), or major seventh (B natu ral), whichever is appropriate to our needs. (Fig. 17) (F») When jazz was first introduced, a few altered chords such as the flat third and the flat seventh were used to excess. The flat third when played with a growl tone (produced by hum- (( oiicliiclcl on P.ig«» 5)______ HARRY VOLPE MODEL Epiphene it Iha personal dioic* of Harry Volpe ELECTRIC GUITAR . . . famous artist, teacher and composer. LzESTINEO to become ihe favorite of young guaaruH and beginners . the Harry Volpe Model combines the experience of thit famous artist and teochor with the skilled Epiphone croflsmonship . famous since 1873. It has all the qualities of a regular professional mode with the added advantage of extra spacing ' Gentlemen: between strings Io make Angering easier Floats KUSH more information and price* for the beginner en the New Harry Volpe Model DIV O* C C CONN ITO. □ Sand latest Epiphone Catalog EVANSTON, ILLINOIS SAN FRANCISCO S Mail ta Dapt Oli Caatinaotal Matic IS 10 Ridge Avanaa • Evaasten. llllaol' Krupa's Noted Dark Eyes' Solo (Fd. Note: Mere is the concluding fortune is not always convenient. Too often a neophyte drummer wilt -ection of Gene Krupa's famous drum Rudiments should be graceful. It’s shoot the works on show and become •olo on Dark Ere*, (krlumbia 38147, obvious that the more graceful drum a rhythmic menace to the rest of the mers, those who always seem tn know band. When the band scream-, the the correct things to do with their drummer should be the essence of Professional drummers, traveling hands, are those well grounded in the simplicity. Someone has to become th« with bands or groups in the pursuit fundamentals drum technique “bottom” while the brass or reeds are >>f their livelihood, visit major cties, Knowing what to do at the moment taking off unless the drummer all of which usually boast the presence and how to put this knowledge to takes that bottom, he spoil the effect of an outstanding virtuoso of per profitable use, not only gauges the of the featured section by trying to cussion as a resident. It’s al way drummer’s ability, but also serves as jam out their melody. Don’t try to worthwhile for a drummer to visit a measure for his salesmanship. Spon play a lead all the time. The drum these artists and, whenever possible, taneity and precision come only as a mer’s job is to build sound rhythm, take a lesson or two. They’ll ilways result of thorough schooling und con then when he gets to “take off,” take learn something new and useful that tinuous practice. it! He’ll not only have built up a will broaden their knowledge and im Though salesmanship is an im solid rhythm, but won’t have thrown prove their performance. portant fundamental item in the per away everything by trying to augment Of course, it’s always advisable to formance of i good drummer, don’t section rhythms with a bunch of riffs. study the works of the masters. Any try too hard to sell yourself. An As a parting remark I’d again lik> student of jiopular thus ideal drummer sells himself automat to answer the question so often put to profit from the recordings of those ically, and salesmanship is a result who have gained enviable reputations ant but not a prime factor. All things me by students and fan- alike, “Are in their field. Of course, more is to being equal, it requires little effort good drummers made or born?” be gained from watching these men •>n the part of a drummer ‘sell Good technicians are made good perform personally, but this good out.” R.S dosed fit 4M- »pen p eros. —------rim jhoQi uni all accei >sm ye#* I Masis I, llllaah UP BEAT March 9, 1955 I Mar Ownership of an SEND 25« FOR BIG, 56-PAGE "ALBUM OF STARS" as new can Ac! Here’s an entirely new kind of Spanish electric guitar, the Kay “Twin Thia” Two high fidelity pick-ups, each with separate tone and volume controls, permit you to accentuate bass, treble or both. Just flip the 3-way selector switch for the effect you want* New type body construction for sustained tones. Lightweight. For free folder, write Kay, IMO Walnut St., Chicago 12. Illinois. KAY ELECTRIC ». 1955 March 9. 1955 IP Ht \ 1 Accordion To Scholl Accordion should have a thorough knowledge of chord structure. To be able to spell Improvisation is the pinnacle playing the second eight as written. and play any chord in any inversion for which most accordionists The bridge (where the change of is of paramount importance for ex- melody occurs, in the center of the tem]>oraneous playing. strive. Unfortunately, extempor piece) should be played as written, I have selected What'll I Do, from Q: aneous artistry is for the gifted few. then take off with some more impro Irving Berlin’s Accordion FoMo #1 Art Van Damme is without question visation. In other words good judge as an example of improvisation. The tup man on the totem pole. His free ment on your part is necessary . Above first eight bars carries single note <0 style improvisation come» with the V) all, the melody should not be lost to melody. The example show» the second greatest of ease. * the listener. After the melody line eight with pickups (C-D-E). Notice lu Those who wish to succeed in the has been well established, then it is the melody in large notes with the modern field today absolutely must time for deviation, and then only in improvisation in small or cue notes. Ui have this quality, at least to some small doses. I elected to do this in both of Irving degree. The classical accordionist can Berlin's books, so that the more ex not improvise. He must adhere strict Most popular tunes are made up of 32-bar choruses. The first, second, perienced player could use the cues ly to the score, never violating the for dressing up the selection. In the Ul and fourth eight bars contain the plan set down by the composer. On next issue of Up Beat I shall include X the othei hand, the jazzman is con same thought. The third eight bars are made up of an entirely different some more examples taken from the stantly deviating from the music, same selection. Work out the technical sometimes in excess. Good taste and melody, and are referred to as the bridge. As you have discovered by problem of fingering and playing discretion are important in impro properly, and in the following issue visation, for it can be overdone. now, some pop tunes have more than the 32 bars, but usually the eight I will detail the whys and wherefors After the intro, it would be wise measure theme holds true. of the cues. (Pleast direct all com to play the first chorus as written, munications to Cliff Scholl, 2 Oak St. then take off on the first eight bars, For effective improvisation, one N., White Plains, N. Y.) iPDy cur» alone 2nd Chorus if pussibit) What’ll I Do Ex. 1 Words and Music by Accordion Arrangement by 6e.f IRVING BERLIN CLIFF SCHOLL nd of t hay ideiity Datate Dermi! ble or dectœ want1 when wo nd on for ’nag eight , IWO llinois. I Bassoon 1 TOI SWITCH CONTROLS f CONTROLS Copyright 1924 Irving Berlin, 1650 Broadway, New York 19, N.Y Copyright Renewed 1951 Irving Berlin, 1650 Broadway New York 19, NY Arrangement Copyright 1954 Irving Berlin, 1650 Broadway, New York 19, N.Y. TJsod by special pendesicn”’ AVEDIS ZILDJIAN CYMBALS A^edi' 7 , s°ys AVEDIS ZILDJIAN CO GENUINE cymbals are made by ZILDJIANS and their 300 year old secret Wr te *0' FREE bookie*. OF FAMOUS DRUMMERS Z ldjion Set-ups of 33 Avedis ZILDJIAN Company • - •- • north qu.nc- v.Mi raftsmen SINCE >623 IT HAS LONG BEEN A FINE A»t Mnlh Agents m prurctpof cities throughout the VvORLD New Sounds in Modern h DOWNBEAT POLL WINNERS CHARLIE PARKER'S YAROkIRD ORIGINALS DOWN BEAT Contents: Sides; Choruses I, 2. 3, 4. 5; Side 2; Miles Sounds Off (Vol. I)—Side I; Coot Mite; Side 3; Miles Away (Vol. 2) With piano accompaniment . . . Published in two volume», oep • JOHNNY SMITH'S GUITAR INTERPRETATIONS—Vol. 1 A 2 World*« greate«t guitarist and DOWN BEAT Poll Winner. Contents: Johnny Smith Original Suite tn B Minor; Concerto in A Minor; Air for G Shing Dance of the Reed P^tes; London Inserted as you it here. UP BEAT appears in the derry Air; Cantata Op. 147; Holiday Suite, etc. Edited by Harry Talpa . . . Published in two volumes for Guitar 1st issue of each month in DOWN BEAT, featuring Sheet for at least 6 instruments playing by famous instrumentalists • HOW TO IMPROVISE—«y Sta» A^l.baam exclusively arranged Outstanding arranger and rompoaer of "Kiddin* Around'* (Duetti). Populai Arranger of CHARLIE PLRKER'S YARDBIRD ORIGINALS. Published for all in*truments Price: 1.00 per book Q NEW SOUNDS RY CHARLIE VENTURA NEW SOUNDS IN MODERN MUSIC 111 Wai MH, Str..» • Naw York 3«. N. Y. NAME ADDRESS ZONE STATE