Album Reviews
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a Album Reviews “LIKE PREVIN!” Andre Previn Trio—Contem- “OUR GOLDEN FAVORITES” — The McGuire porary M3575 Countering the success of Pre-vin’s string- Sisters—Coral CRL 57349 backed pop albums for is this All-Jazz The thrush trio has harmonized to resounding MGM date for Contemporary. This is by far the most success, numbering among its hits “Sincerely,” satisfying jazz session in recent months by the “Sugartime,” “It May Sound Silly,” “May You artist. He is completely on his own, playing 8 Always” and “Something’s Gotta Give.” These original pieces the way he wants to. Yet, despite and seven others make up this package, an al- the artistic superiority to the dates, this bum that should cash in handsomely. Lots of MGM album is only fairly successful jazz-wise. That strength here. spark of inspiration seems to be missing and the listener drifts along, though rather pleasantly, on the frills and runs of the Previn style. “JAZZ IN THE SPACE George Russell ’— AGE”— “THE GOLDEN HITS OF THE FOUR ACES and his Orchestra featuring Bill Evans at the Decca DL 4013 piano—Decca DL 79219 This group has racked up an impressive string The basis of this session: the title, tunes such of hits through the years of popularity. The as “Chromatic Universe” Parts 1, 2, 3; “Dimen- label has put them all together in a package that’s sions,” “Waltz From Outer Space,” might seem sure to stir up memories and big sales. Among far fetched and ridiculous but Russell instills the frontrunners are “Tell Me Why,” “Garden In them with a basic vibrant jazz feeling and has the Rain,” “Three Coins in the Fountain,” “Love excellent musicians to put his ideas on a solid is a Many-Splendored Thing” and “Heart and jazz foundation. Notably Bill Evans, Ernie Royal. Soul.” Bob Brookmeyer. An interesting and intriguing album with much swinging going on to recom- mend it. “FVE GOT A RIGHT TO SING THE BLUES”— Eileen Farrell—Columbia CL 1465 “THE DON MILLER QUARTET”—King 712 EiLiJiJA Indeed she does have the right if all future Guitarist Miller led his quartet to victory in the performances measure up to the excellence of her 1959 and 1960 Notre Dame Univ. Intercollegiate pop debut here. Miss Farrell, known to many as a Jazz Festival while he picked up top honors as star of the Metropolitan Opera, reveals an up-to- soloist. Though young and playing in a derivative Etf Eoi now well-hidden talent for pop singing. She has pattern (there’s a lot of Brubeck in their style), io warmth, conviction, the technical ability, unerring the Quartet does enough interesting things to diction, and topmost, an understanding of the merit serious listening. Choice of material is iiHBiui'sr songs and the sincerity of delivery. Luther Hen- commendable: “Blues in the Closet,” “Blues derson has provided her with valuable settings Walk,” “Long Long Ago,” and they play these for “Blues in the Night,” “Looking For a Boy,” tunes with exuberance and a youthful enthusiasm. “Old Devil Moon,” “Ev’rytime” and “Glad to Be Altoist Gordon Penning is the standout artist. Unhappy.” Auspicious new direction for a tal- ented artist. “THE ORIGINAL JAZZ SCORE FROM, ‘SHOT- GUN SLADE’-”—Stanley Wilson and His Or- chestra—Mercury SR 60235 “SWING ALONG WITH THE SINGIN’ 30’S Gerald Fried, whose video contributions include The Johnny Mann Singers—Liberty LRP 3156 “Wagon Train” and “M-Squad” has penned a An engaging view of the bright, musical 30’s hard-hitting dramatic jazz score for the “Shot- is offered through the vigorous musicianship of gun Slade” TV’er. Played here by the Stan- Mann, leading a group of choristers over the ley Wilson ork, the music appears fairly typical bubbling notes of “The Music Goes Round and of TV jazz but with an added flavor inherent in Round,” “In a Shanty in Old Shanty Town,” the fact that this is a Western private eye, and “Stompin’ at the Savoy” and “I Got Rhythm.” It cowboy themes pepper the score with interesting has a 30’s flavor but with a modern sing-along melodies. Noteworthy tracks are “Open Skies,” accent. “Them Swingin’ Doors,” “Danger Trail” and “Sad- dle Swing.” Good, substantial jazz fare for TV fans. “TOMMY EDWARDS IN HAWAII” — MGM E 3838 The supple-voiced songster turns up bedecked in leis for his latest LP venture. He sings ro- mantically the more popular Hawaii-associated TCHAIKOVSKY: “The Nutcracker Suite” Nos. 1 *** tunes; “Moon of Manakoora,” “Song of the Is- 2 Wt* > V,,- i ' & New York City Ballet Orchestra, Robert , i — ; « t j, i," lands,” “Sweet Leilani” and “To You Sweetheart, Irving, conductor—Kapp 9048 Aloha,” assisted by the soft caresses of LeRoy The newest recording of “The Nutcracker Holmes’ ork-chorus arrangements. Interesting Suite,” one of the most recorded works in the change-of-pace for Edwards’ fans. catalog, is a flowing, deliciously fragrant dance- minded interpretation by the NY Ballet’s prin- cipal conductor. He is decidedly melody-minded and has enormous melodic opportunities with the No. 1—“March,” “Trepak,” Waltz of the Flow- JAZZ PICK OF THE WEEK ers,” etc. A time-honored work, lovingly cared for here. “NOT NOW’, I’LL TELL YOU WHEN’’—Count BACH: Brandenburg Concertos, Nos. 1-6—Ham- Basie and his Orchestra—Roulette R 52044 burger Kammerorchester conducted by Harrv The crisply swinging, precision Basie ork com- Newstone—Roulette R 75001, R 75002, R 75003 mands listener attention from the leader’s open- A distinguished European recording of the ing piano statement to the muted trumpet finish. Brandenburg Concerto released here on Roulette In between, drive, verve, artistry and originality marks the dehut of the label’s Gold Classic clas- are the orders of the day. The nine selections are sical series. Complete on three albums (each con- all originals by Basie crew members (one by the taining two of the concertos), the works are Count himself) and are played with the tem- marked by the firm, sure conducting hand of pered steel finish of all Basie performances. Big- maestro Newstone, who adheres religiously to the band jazz at its best! standards set for the works. Stable, traditional performances. DVORAK: Symphony In C Minor, Op. 3; Sym- phony in B Flat Major, Op. 4—Prague Sym- “CRAZY BABY”—Jimmy Smith—Blue Note 4030 phony Orchestra conducted by Vaclav Neumann One of the few organists who can really swing —Artia ALP-140, ALP-141 the thing. Smith guides his instrument over the These two generally obscure and disregarded rippling waves of “A Night in Tunisia,” “Mack symphonies (two separate packages here) from the Knife,” “Makin’ Whoopee” and “W’hat’s New,” Dvorak’s early career have gone unrecorded in fronting a trio comprised of Donald Bailey the U.S. Through Artia they are now made avail- (drums) and Quentin Warren (guitar). An orig- able, recorded by Czech artists, the only ones who inal and individual artist. Smith records prolifi- consider them in repertoire. Despite their short- inexperience, work.*^ cally for the many who enjoy the organ, and its comings of youth and the recent emergence as a qualified jazz instrument. reveal much that is to be admired in the com- poser’s later works. Superbly recorded, they should attract much astute attention here. The Cash Box—September 3, 1960 41.