out the alternating light and heavy accents ably strong exchanges between Woods found in much of the master's playing. His Dodgion on Guess What. itd ballad style is well represented on If I All in all, a pleasing album ith llad You and Mad, where be is joined by meats of first-rate playing. Possibly 0,;o. Jonah Jone s and Tyree Glenn, the latter to the shortness of the tracks ( only 00 'Ci playing well without the plunger mute be longer than four minutes), howeve/ ~ was often to use elsewhere with stilted doesn't show Woods as the exciting pl~yn affectedness. On New Baby, Buck Clayton he is capable of being. - liei ne~ James Moody prefers is beard in a tart, crisp chorus. Harry Carney dominates the Ellington­ The Zeet Band the American Today ian Hamilton session, especially Slapstick. MOOGIE WOOGIE-Chess LPS- 1 IS· r ball Boogi ,; Foggy Train Bluts; Bta, r iJ/• Hi s presence is unmistakable behind the Boggie-Loo; Gimme 5¢ Worth of I.,.,. 0 1'' Sound . King Super leader's two solo choruses, anchoring the Blues; Piggie W oofi•; M oogit Boogie; Fai c'fl Angtl 's Dust Boogtt,' Pinttop's Blu ts; lnsidt "' ensemble riffs. Then he emerges as soloist Collective personnel: Erwin H eller, Pau l ~ 20 Saxophones 1 himself, peppering his eighth-note lines with• er, Mark Naftalin "Fast.fingers FJ·1k,tn,/ · Norman Dayron, Moog synthesizers, keyboar4'; those great bent phrases that give his style various rhythm sections including Ph il Upeburc1, such original ity. His sound is herculean ~~~s~ick Berk, Morris Jennings, J ohn Gu.,,. but never raucous. Catlett's drumming is a propulsive asset, and Ray Nance makes R31ing: One Raspberry some special contributions. -McDonough The marvels of modern electr· nics can be applied to music in a variety of wai~ Having been previou sly exposed to re. Phil Woods corded Moog efforts in which tl e inve11- ROUND TRIP- Verve ¥6-8791: Round Trip ; Here 's That Raifly Day; Lovt Song for a Dead tion was applied to the music of Bach Vincent J. Aha to de­ Ch,; I' m All Smiltt; Solitude; H ow Can I b, Mozart, and other masters, I had come 1u Surt; Fill the Woods wi th Laughter; This Is All I Ask; Flowers; Come Out « •ith M , ; Guess regard it as just another manif estation « m ands the French What. the sadistic element that has crept in1 Personnel: Woods, alto saxophone, arranger: 1 Classical Sound. King unidentified orchestra iacludinit Jerry Dodgion, contemporary humor. alto saxophone, conducted by Chris Swanson. This album, however, proves that I 'Nil Marigaux Saxophones Rating:* ** ½ wrong in viewing the Moog from such, This session is certainly better than just restricted perspective. Here one finds proof good, but one was led to expect more, that Moog music can also be the equiva­ given the enthusiastic responses to Wo ods' lent of good old primitive bathroom hu­ playing in Europe. It's contemporary big­ mor. If you fancy imitations of the sound, band-post -bop, with some nice charts by commonly assciated with the barnyard an, Johnny Pate and Wood s and some highly the digestive processes, this album will be musical but seldom stunning Woods solos. your cup of tea-e specially the tastefi. (Jerry Dodgion duet s on alto with Wood s Piggie Woogie. If your circle of acquainl· on the last track, and also assembled the ances includes effete musical snobs, tit Cannonball Adderley band, which probably contains some of 'em to a chair and Jet this albu m play or the Jones -Lewis personnel; sounds like at full volume for a few hours. That insists on the Artists Lewis on drums and Richard Davis on should teach 'em . bass, and the brass attack is also remini s­ Yes sir, this is real high-class music.. Recording Sound . cent of Jones-Lewis.) fun. "Fastfingers Finke lstein" is to bt About the only noticeable alteration in complimented for not revealing his ident~ King Sterling-Silver Wood' s playing-and he has always been a ty. A ray of wit occasionally g1a ces tl:t Bell Saxophones fine musician-is the added bite. There's efforts by Helfer, who seems to know ~ some Cannonball in his second entrance basics of boogie woogie style. The rest ~ on the first track , which has a qua si-rock pukie wukie. -M orgemtefl feel rhythmically but is voiced in the jazz tradition. Good, hard solo. Ditto for Rain y Day: very strong Woods, fleshing out the ballad with beauty but no sentimentality. ROCKBRIEF S He moves into double-time for one chorus, Effective, but undermined because the BY MICHAEL CUSCUNA drummer doesn't pick up on it imme­ Don Kubec chooses diately. (Most peculiar if it's Lewis.) AN UNUSUAL AND outstanding recent a~ Woods' Che is a pretty tune with re­ bum is the debut recor ding of Boston bar· the Rock-Jazz Big laxed alto solo ( except for some strai n monica player Peter Ivers, Kni ght of ~~ getting into the upper register for the solo's Blue Communion (Epic BN 26500). ~ 1 Sound ... King Tempo climax). Smiles features a dissonant, more band includes some fine jazz talent (bass• or Jess free intro by the band, fading into Richard Youngstein, drummer Bob ~~ Saxophones an up-tempo melody statement. The drum ­ and vocalist Yolande Bavan). h ers 1s , mer is crisp and sure behind Woods' spot. amazing harmonica player. Whe n the b~' The altoist also provides a slick, enjoyable is churning and he is really into a 5?~ 0 reading of Sure-light, fast, no waste mo­ he excels in virtuosity and imaginat1_!I. tion. Chart's fine, too. He is a most unusual songwrite r as 11t . That takes care of Side One, and the very contemporary, very thea trical, i: second side seems a bit repetitive, almost very musical. Only a singer with the ,·o~le as if Woods had shot his bolt. There's and control of Miss Bavan could t~c~ some big, fat, resilient bass work behind such material. An excellent recor !bl Woods on All I Ask, and the alto solo is every respect, thou gh it may take . • 101 School Bands require the best on the side, thoughtful and rich. listener several bearin gs to really get ~ · Interesting arrangement of Flowers: a it. It is best to start with Cat Scro the Marching Band light r&b beat complemented by the horns Fever. Jilli' and contrasted by legato strings. But Tim Buckley's fourth albu m, ~ st sound . King Cleve- Woods' statement, while appropriate, is Afternoon (Straight 1060) is as , 1a nd Saxophones uninteresting. An okay double -time solo and singular as bis previous efforts.,~ on Come Out, a ballad, and some reason- unique collection of eight tunes frorD~ .