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GUITARS • ELECTRIC GUITARS and AMPLIFIERS MANDOLINS • BANJOS • UKULELES Write for free, new full-color catalog. Address Dept. D 71 THE COMPANY, 3633 S. Racine Avenue, Chicago 9, III. don't. So it will probably be with fes­ all the characteristics of one: it cJ IM Music THE EDITORIAL tivals. aiders itself a minority of superior «J magazine The festival season is upon us, and What is it that makes a festival it listens to music in an active raj a crucial season it is for the big worthy to survive? than a passive manner, it considenl extravaganzas. Will they survive? Or Just this: that it have some sort of of central importance to the pt^J will so many of them lose money, as idea to sustain it, a central unifying of the human spirit, it tries to t - ,1 they did last year, that the festivals will conception to justify its existence. Nor criminating in its *

education in jazz

by Johnny Richards

In the last ten years, the high percentage of young musicians joining bands have Clear Sailing for Clare fists lightened of several West Mi been music school graduates. The I would like to kill two birds with one dollars. Sam Cooke’s April 1961 engagem^ ; young musician of today tends to take stone. First, I would like to thank Gene Lees for his fine review of Dizzy Gillespie’s Trinidad was a tremendous success. 1 his work seriously. He wants to do his album, A Portrait of Duke Ellington, ar­ sales of his records (which never ha work well. rangements by Clare Fischer (DB, April faltered) have accordingly hit a new pa Berklee School of Music in Boston does 27). Second, I want to thank John Tynan and everything “cooks" even better ft wonderful things in its courses for for his enlightening article about Fischer before. young musicians. The Berklee student (DB, June 8 ). . . As for the phony promoter, Trinidad h taken appropriate revenge: his hoax is « has command of all his tools. He relies I had tiie good fortune to meet and have a lengthy discussion with Fischer in recorded forever in the rogues gallery on his training Fort Lauderdale, Fla., recently ... I was Trinidad’s famous musical medium—t just as an attor­ completely taken with this dedicated, sin­ calypso. ney or doctor cere, and warm young man. From here on, Port of Spain, Trinidad can. I’m a devoted fan of his. Leslie C. D. Lucky-Samar In my association His whole life is wrapped up in his A Gauntlet Cast with Berklee music. His goals and aspirations are in­ deed high, but I have no doubt that he I have noticed that the term “soul" J trained students will attain these in his stride. Clare Fischer jazz, is one of the most disgusting worm I’ve been im­ is indeed a Star on the Rise. in the English language. I honestly done pressed with their Miami, Fla. Ronald M. Stutzman think we have progressed from the Gillol adaptability. You pie-Parker school. Bad jazz is entirely tai don’t have to ex­ Calling Dr. Chand dominant, and most jazz perfonnen wHel i Johnny Richards plain every phrase In the June 8 issue of Down Beat, there from the stigma of being put down, so te speak, by the average listener because hl as long as the was a letter written by Dr. Richard Chand is not understood. parts are written correctly with proper printed in Chords and Discords. In it he criticized such people as Ornette Coleman, How many people can mention Les dynamics and. full value. That's some­ , and . McCann or Cannonball Adderley in thJ thing some musicians have a tendency Dr. Chand is connected with the Con­ same breath as , John CoU to fluff over . . . when to cut off a note temporary Improvisations Quartet, which trane, or Bill Evans is beyond me. By thJ or how to attack. The leader or ar­ advocates the so-called Fourth Stream of same token, to classify as I ranger of any band has to have cohe­ Jazz. I’d like to know what are the actual jazz performer and hail him as a genita sion in his group without spending too concepts and principles of this group and shows the stupidity of the average listenen much time rehearsing. Time is very of Dr. Chand concerning modem jazz as With all due respect to the man, I wonda it “should be played.' how they can call him a genius and form important. Philadephia. Pa Dankar Bilyl such fine musicians as am It’s a great kick to me to see the way Mal Waldron, who definitely aren't gaw the Berklee students pay attention to Wild Bill Was There uses but are just good jazz musicians. the finer points of intonation and phras­ Regarding the correspondence of David I hope to be a jazz musician one dayJ ing. Talent and the will to work and L. Braun about Jazz of the Forties and but when I see the music world aroud me, I wonder if I should stop learninJ work hard are important—but, believe Wild (DB, May 11). The scales and hire Fabian as a singing coadJ me, even more important for career reason Davison was not listed was that, although he was listed in George Hoefer’s I know I would make more money thal musicians is a solid music education. original notes for the album, Bob Maltz way. did not have him on the roster of perform­ The record companies are content M ers and was not sure he was there when record a jazz performer 20 times a yen the album was cut. and still push each one of his recording For information ... write tot As Braun points out, Wild Bill definitely as a great new album when this is tecM was there, and we will fist him in the next nically impossible. Berklee School of Music issue of the record. Jazz as it stands today is too coinmen cial, and if it keeps up at this pace, then 2*4 Newbury St., Boston, Mass. Moses Asch Folkways Records Corp. will be no great jazz musicians in tM future, because there won't be any a»l Sam’s Not Cooked petition. Everyone will get on stage an I have been awaiting the arrival here play 12-bar blues and be satisfied beuusj New Publications in Trinidad of Sam Cooke before writing the people at the tables are patting then from to you about the story in the Jan. 19 issue feet. , . | Berklee Press headlined Promoter Is a Smash, but Sam The only remedy for bad jazz is to nnM Is Cooked, which may have given your it out in the open. The people have to b| • Lp’s and Scores readers the wrong impression of Trinida­ shown what constitutes good and bad pal • Orchestrations dians. Music colleges should have free cot^j • Method Books Your story is factual with respect to the in music appreciation, so that a • Correspondence bogus advertisement here in I960 of can understand, to a certain degree, Cooke’s personal appearances and the dis­ a soloist is trying to say. Then he woujl Course appointment of his many fans. But, to say have a valid reason for disliking some°a For complete information that “the name Sam Cooke prompts clen­ and not just condemn him because be uni “funky.” J loan to and free list . . . write toi ched fists among the islanders (of Trini­ dad)," couldn’t be further from the truth. I speak not only for myself but »■< Broad vs BERKLEE PRESS PUBLICATIONS Actually the identity of “the Caribbean a number of my friends who are stuuji J84 Newbury St., Boston 15, Ma*«. con man” is well known here, and it is ing music. his name that prompts the clenching of (Continued on page o) DOWN BEAT »ever hm new ped 'etter Am rinidadl ou ba gallery

I “wir testly donl the Gilles mtirely tot men suffe own, aon because h mtion Li -ley in tt John Co me. By tl Carles as s * genii

and forge Yeston an treni geni isicians i one da)

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For VxlV* autographed print itti ng of thio picture, send lOf in eoin is to bn to , Dept. AT to cover handling and mailing. have to d bad ja

Art Taylor plays Gretsch Drums

a can too. Try an outfit like Art’s or specify your own set at your dealer’s. Write Gretsch, iui also «re sW Broadway, Brooklyn 11, N.Y. for thirty-two page Diamond Jubilee drum catalog. Dept. DD-27

Art plage a "Progressive Jass" outfit finished in Jot Black Nitron: 90^x14" bass drum; 14"*W snare; •nd 14"xJ4'’ tomtoms, all with strsamlined Gretsch hardware and other Gretsch accessories shown here. CHORDS (continued from page 6) Give us an art that we can kook ■ Give us something to be proud of, the critics won't have to complain bea there aren’t any more Novarros or Pm around. Give us something to look fan, to and not just a life of continue j backs, and we will show you what , do to help- Until then, I'll just learn the because if it keeps up at this rate ' the skilled all I’ll have to know Workman ip oiMwsa Springfield Gardens. N. Y. Joseph

Far ihe Artiii «ho wants Üu f um Credit Due Than * no aubatitute for MUSSER itv AU MUSSER matrumento I’d like to take this opportunity ta« 1 a letter written to you last year by Er H Wilkins in which he protested M-G-) I not giving him arranging . redita m I album recorded by Harry James. I Noncredit for arrangers is, indeed, ti I plorablc situation. I recently ran into II same problem 11 Having written the bulk of the small ments for two albums by Maynard FM guson and Chris Connor I Double Eim sure, Atlantic M049, and Two's Cagli Roulette 52068). I expected, naively JI haps, to be given credit for them 111 fortunately, this was not the cam T I credits on the Atlantic album confided I eight words in very small type in a bi I mwseir I r corner of the album cover The ««Ml album failed to mention the urrangeae I MARIMBAS INC. at all . . I Manulacturar* «I MARIMBAS »n» VIBES 1947 FAIRVIEW AVE. • BROOKFIELD. ILL. If these were the as I run-of-the-mill singer background la I MUSIC DEALERS! See and hear the fabulous Musser marimbas and vibes I wouldn’t mind so much But they're 1 I at the Music Trade Show-Room 864, Palmer House, Chicago—July 16-20. They are the result of four months’ll work— selecting tunes, writing chaap and rechanging, rehearsing, editing, 1 programing. . . . CAMCO! NEW LINE OF TUXEDO DRUMS When a record company has liner k telling rhe life story of the artists, wh we’ve all read 88 times before, and di lists the musicians, the producer the a ncer, the photographer, the guy • Kanist-h brings in the coffee, there is no excuse i itute ha: omitting the arranger's name.... New York City Don Sehe hano an instrurru The Way of AU Flesh In your April 27 issue Gene Leo »here h< Afterthoughts stated that the cellist because his father’s string quartet cut the k between his thumb and forefinger n e because der to give him greater reach practice*: Since when does the thumb figure Wurlitze reach on a cello? Since the thumb hooked around the cello and plays i ter whet part in the fingering of the instrume what difference does it make ho» gre the gap is between thumb and forefinge This guy really must have been a n I bet he cut the wrong hand, too’ . Calif. Conrad Mad« Scholarship Thanks I would like to thank Down Brat a the Hall of Fame Scholarship »udges « awarding me one of the scholarships i the Berklee School of Music. >0» «“ PEARL and LACQUER FINISHES never guess how thrilled I was wbea learned of it. . . Write for free literature I can only thank you again for t CAMCO DRUM ACCESSORIES CO. chance of my life...... Beloit, Wis. Anton (Tony) ScodweBJ DOWN BEAT ?e6) Why Wurlitzer n look^ cud c4 i ’plain lea

1 Mk Im Electronic Plano? n’niK» •‘hat « i

Mscphlij

••mty toed rear by En ted M-G) tediti m me». everywhere fndeed,K • 40 inlet

I rhe smai says •’ >ynard fi '•able Er; o’s C ompu .irrvely p >r them. U ie cast T i consñH

re ihe w round tn it they're« months’ b

as liner in artists, srtu ire and th cer, the a ie guy d Konist-humorist Stan Freeman hits the recital, concert no excuse 1 route hard. His versatile talents in classical and jazz

Don Sebd and humor call for a most versatile personal instrument—the Wurlitzer Electronic Piano. It goes lene Lees where he goes (as he says, dam near everywhere) ie cellist because it’s portable. He plays it wherever he wants tut the ie finger ir o because all he needs is an electric outlet. (He even practices in private using earphones!) And, the nb figure ie thumb Wurlitzer Electronic Piano is always m tune, no mat­ nd play’ i ter where or how it goes. It’s perfect in size for any • lmtnune i hw F« hotel room, in tone and volume for any night club J forefinge “Plugs in like a toaster— been a bi really makes for hot music. irmi Mu® There’s nothing like the Wurlitzer Electronic Piano vn Beat a p judge» ft for keeping practice fun. nilardiip I It’s a real boon to any fast­ . You c®1 moving musician.” Stan was *i» WuRLÍlZE Freeman says. World’s Largest Builder of an Org DEKALB • ILLINOIS StHÎCtLYãdm NEW YORK The nation’s nonmusic press noted two jazz happ«^ Down Beal this month. Boxer Archie Moore, who retained ha ip« heavyweight championship and who is about to become fl ' publisher of a jazz magazine, skipped rope during train to the rhythms of jazz piano. Reporters noted that b G< favorite training tune was Pinetop’s Boogie. More aMiighters and revealing was Newsweek’s interview with CmaaM ^ground“,n<1 Adderley. Expressing the view that critics damn him bee* mA his fir his records now appear on best-selling lists, Adderley sac th World’ “I’ll be crying all the way to the bank.” 1961 stimm« Some will recall that this phrase origi­ Lucians í nally was attributed to various members nd than i of the Liberate family. fl Oct. 1 Author John O’Hara, asked whether ciazi he had seen in the 1957 [be $20, film version of Pal Joey, said, “No, I ited didn’t have to see Sinatra. 1 invented LkenJ « him.” Sinatra seems to be one of the few Lwn from persons who won’t appear this year at a ■hcludeJ jazz festival. They’re being held in every comer of the world. The German Jazz arts, man; Festival led off with much-expressed fear snunu Goodman ii piano; Jim about Newport-like disturbances. But none occurred, m Corb, bass; critics cheered altoist Arne Domnerus, pianist Thebehi Monk (described as “the highest priest in jazz”), and Spud up the rhytl boa compì pianist Tete Montoliu. The third Mexican National Ju Klein, Fran Festival, held on June days chosen to coincide with guitari The trombe ’s U. S. Information Service visit to Mexico Carpenter, presented more than 60 performers, jazz films, televiaa teed »ectioi shows, and Mexican and U. S. musicians. M Auckland, New Zealand, celebrated its 13th music festin wnun; n am«a, and«nd BiMi with a performance by the Modem Jazz ! SngerGi Quartet, the only jazz offering during this nd histy : classical event . . . The second Yugoslav E the hi Jazz Festival took place in early June in hu with more than 25 groups taking part ah t ...... (altoist has said Yugoslavia TGoodmai has so many superb jazz musicians that Mi instruí it would immediately emerge as a leading gneution < European jazz power if some of the cur- aeries we tains came down) Fddie Barclay, OetO'Clcx president of France’s Barclay-Mercury, said during the recent Daily News festival ELUNOTON For the CW in New York that his commercial direc- crowd, con tor, Jacques Souplet, will produce the second Internatioeil «s with Jazz Festival, at Antibes Juan-les-Pins July 17-23 (not toh hughters confused with Belgium’s third International Jazz Festival) ly any me On the programs will be Ray Charles, ^Hata Symmetricut Reeds ore cut for crowded w Humes, Les McCann, , Arthur Taylor, Fred# ■Mier-21 a uniform perfection. Busy musicians Redd, Jackie McLean, and Louis Armstrong, plus jazz taka ■ the stan< from all over Europe . . . Definite, but not so star-struck appreciate the “custom-made" ■wsly im| is the first Scandinavian Jazz Festival, to take place Aq ■d some < quality of every Symmetricut Reed 3-6 in the small Norwegian town of Molde (populate •hilt Goo 8,000). The promoters (the Storyville Jazz Club in ...its never-failing dependability, freted in J city) expect 50 musicians from Norway, plus guests fro* Business easy response and finer tone. Sweden and Czechoslovakia. ■cording Also still to occur is the Festival du Jazz July 'Ratifying. Comblain-la-Tour, Belgium. Now in its third year, w Sharing festival was originally conceived by Joe Napoli, who <* budget at t managed Chet Baker. As a GI, Napoli feufell in love with poups, incl little town. After the war, he returned to discover that church was still in ruins. He suggested a jazz festival• •■ce the p (Continued on page 66) 10 • DOWN BEAT Do»?» Bcaf July 20, 1961 Vol. 28, No. 15 DKNEYLAND swings »TTH GOODMAN 's recent series of six jo-nighters at the famed Disneyland playground in Orange County, Calif., him bccajf with his first big band since the Brus- jJeriey tai, ¿i World’s Fair, officially opened a 1961 summer season during which more ■■icians are being employed at the Lal than ever before. A total of 71 Miicians are working at Disneyland ■tv Oct 1. ■The clarinetist, who was paid a re- Lrted $20,000 tor the half-dozen ap- htrancifi beginning Memorial Day LkenJ worked with a hand mainly k«n from I.os Angeles Local 47 ■hcludcd was a bevy of studio stal­ larts, many of whom had worked with smam Goodman in the past. Stan Wrightsman, piano; Jimmy Wyble, guitar; Morty purred, M Corb, bass: Mickey Sheen, drums, made and SpänJ up the rhythm section The trumpet sec- tioa comprised Cappy Lewis, Manny ational Jaz Klein, Frank Beach, and George Werth >ith gum» The trombonists were Dick Nash, Pete to Maia Cupenter, and Ed Anderson. In the s, televim md section were Plas Johnson, Skeets Herfurt. Morey Crawford, Les Robin­ ia, and Bill Hood. BYRD RETURNS Smg»T Gwen Johnson earned repeated Guitarist Charlie Byrd I* seen here returning from a highly successful 14-week State Department ■4 lusts applause At one point she tour of Latin America. Greeting him at Washington airport are, al left, Pete Lambro», who oper­ ates the Showboat, where Byrd is usually in residence, and Heath Bowman, chief of the education Hi the hundreds crowding ­ division of the Stale Deportment's bureau of cultural affair*. With th* guitarist is hi* wife, Ginnie. Bad n hushed silence with a wordless ■al a la the late Ivie Anderson Bill Elliot, studio musicians, are credit­ Before the clarinetist wound up his I ’ Goodman stayed with old favorites. ed with building youthful interest in live series of appearances, he taped a tele­ Mi instrumental and vocal, and the ap- dance music at the park. vision special program at the park. It । pronation of his audiences was evident In the evenings there is traditional has been sold to CBS for telecast Sept. IM cries went up for Sing, Sing, Sing; jazz aboard the riverboat Mark Twain, 26 with Westinghouse as sponsor. Good­ I Oat O’clock Jump; and Ami the Angels played for dancers by pianist-leader man also recorded two albums for Capi­ Harvey Brooks and featuring veteran tol during his Disneyland stand. i inoton For the most part it was a mature New Orleans banjoist Johnny St Cyr, TOwd, composed in large part of par- rtle'natioH now 72. Daytimes, a somewhat less ■ts with their teen-aged sons and bearded brand of two-beat is purveyed MILES DAVIS ‘APPROVED* 3 (not tote FOR BAY CONCERT z Festival), Uughtcrs But it was not an adult party under an outdoor canopy by the Straw­ h any means. The dancing area was larie, Hd® hatters. After much soul-searching, the man­ sowded with youngsters; others in the lor, Fred* The rest of the Disneyland bands in­ agement of San Francisco's Masonic Mer-21 age bracket pressed as close clude a 20-piecc marching aggregation s Temple appears to have determined that »the stand as possible Many were ob- star-ttnid regularly on parade throughout the Miles Davis fans in the bay area can riously impressed by what they heard area; a seven-man society crew led by place Aw be trusted not to beat up the ushers ®d some stood literally open-mouthed Arvon Dale: a second seven-piecer. the t populate and tear seats apart. ■hile Goodman and drummer Sheen Space Men, aimed toward the teen­ lub in ÜW The alleged proclivity to violence of •betrJ in Sing, Sing, Sing. agers; a Spanish-Mexican group; the guests fa® Davis’ admirers prompted Alvin A. Business by the Goodman band was. Golden Horseshoe Trio: the Yachtsmen Horwege. manager of the 3,200-seat «cording to Disneyland spokesmen, Four; Dapper Dan’s Quartet; a female lv 29-30 4 auditorium, to deny the use or rental ratifying." Gypsy trio, and still other groups. year. * of the hall to the National Association Siaring the $300,000 summer music While Disneyland's music budget for , Mho ow tor the Advancement of Colored Peo­ “°dget at the park is a cross section of the current season is swollen by the ive with th ple, which plays a benefit concert there foops. including the F.lliot brothers’ 10- whopping outlay for Goodman, it is ver that in by the trumpeter in October. P^cer. which has been playing there estimated the park is expending $16,000 estival a*1 l*ce the playground opened. Lloyd and a week for live music. Other artists similarly barred ui the

July 20, 1961 past from playing the temple include The pianist s legH battle with Colum­ eliminate many of the feudi Fill V Nat Cole and Ray Charles. The Cole bia records is still in the courts, he occur when a fine film score doesn't^ —Sam a ban was in February. 1960; Charles said. “But,” he added, “it hasn't hurt nominated but a blockbuster wjft of *8® '' was prevented from appearing there last me at all. more ‘commercial’ score gets the nod' «*8®-.; Hous New Year’s Eve. “I'm busy all the time with work Duning said he feels the plan caa It „nt to recei In all three cases, Horwege declared for CBS, on radio and television. And submitted to the hoard of governon i g ont of his decisions were made “not because that's Lhe same company. At CBS they September. I his would mean rhat, । ygemporar of race or color but because we had don’t care about the Columbia busi­ approved, the revised system would! Three yes been advised the kind of audiences these ness That's just in the record division." m operation during 1962 and * for th c di but il artists draw could be destructive to our Following 2Vi weeks of Hollywood awards presentation in 1963. tathusiasts, $7.000.000 auditorium.” In support of club work, the pianist returned east to yd ultimate his nonracial reason, the manager noted play a round of concerts in summer NARAS ELECTS pliywright-fi that , , tents. NEW OFFICERS t tireless bl and Dakota Staton have played the hall “I started that last year,” he said, W’ith this year's Grammy awanh (tarter- w at various times. “and this year it'll be better because I done with, the National Ac ademy of pioneering I* Within 30 day-s of the Davis ban, opened the tents tor a lot of jazz mu­ Recording Arts and Sciences this completion however, other voices apparently pre­ sicians.” announced election of new officers ana In the cm vailed in straightening out temple man­ a hoard of governors for the Loi paying of agement on the risk of a riot. FILM COMPOSERS SEEK TO Angeles chapter. Ml chapter According to Al Robinson, chairman REVISE OSCAR NOMINATIONS Rc-elected as president was Sonny Since thei of NAACP's concert division in San Springtime, the season of dizzy- Burke, who. in his acceptance speech, te credit an Francisco, Horwege early this month dazed romance the world over, is one said the board and officers “are pledge lot become reversed his decision. The temple now of annual bile in Hollywood. Its con­ to maintain the high ideals and goals blucsn is available without charge for the tingent of motion picture composers upon which NARAS was founded." He concert arti NAACP benefit or at a fee of $650 for glowers resentment against what it con­ predicted greater progress and growth arntiallv t commercial purposes. Robinson said. siders an injustice. For springtime is for the academy during the coming year. pang on th He added further that future bookings also the season of the Academy awards, Margaret Whiting and Vovle Gil­ ruling N there by Cole, Charles, and other Ne­ and Oscar time means beefing time by more were elected first and second vice decades. I gro performers would be assured with­ composers about the manner in which presidents, respectively. Van Alexander work, he n out management hindrance. the Oscar nominations for music awards was re-elected secretary, and John “jmt like v All projected shows at the temple, are handled. Kraus is the new treasurer- Gilmore, aa arret. Whe however, will continue to be “screened” In past years, movie composers have incumbent on the board of governors, done here 1 to guard against what the management — temporarily — stormed out of the was re-elected to the vice presidency. Iwa on . termed “the wrong audiences." academy in protest. Two years ago they Incumbents on the board re-elected mi I play rose in open revolt against the acad­ to two-year terms were Miss Whiting rm playing MOVIES NO LURE emy’s decision to reduce the music cat­ (vocalists and singers category), Elmer i»" FOR GARNER egories from three to two They won Bernstein (classical), Mel Blanc (com­ Though k countr Movie work hath no charms for their point, but basic dissatisfaction edy, documentary, spoken word), nd Erroll Gamer these days. lingered. Kraus (studio engineers). tas peril In Hollywood to fill a night-club en­ mt easy. After the hoopla of this year’s awards, New governors elected are Johnny gagement, the pianist said he is more a new drive is under way to revise the T. Williams (leaders, conductors), Dave Dom on interested in promoting his recording nominations setup. An unofficial com­ Cavanaugh (a&r men, producers), Mack üt, Texas company, Octave, than in any offers mittee is drafting a plan for submission David (songwriters, composers), Russel Woods cou from film studios. to the music branch of the academy. Garcia (arrangers), Ken Kim (art dune­ teintense Sought as sound-track pianist for the Headed by George Duning, the com­ tors, literary editors). Laurindo Almeria characteris’ projected picture, Solo, more than five mittee includes Andre Previn. Henry (classical), and (instru­ ke early c years ago, Gamer today says he Mancini, Elmer Bernstein, Hugo Fried­ mentalists. musicians). Biind Len couldn't be less interested in such work. hofer, and Leith Stevens. If the commit­ Carter, a member of the board of peatest of Solo later was shelved by 20th Cen­ tee's plan meets with the approval of the governors when NARAS was founded ie first to tury-Fox, but recently the picture was music branch, it will be forwarded to in 1957. thus was elected to the body a the region taken out of mothballs and put back the academy’s board of governors for second time. Of his on the production schedule. Actor final approval and adoption. Present board members with one ye» Hopkins r Robert Wagner is reported assigned The proposed revision of the nomina­ remaining in office include Shorty ® a litt the starring role of a jazz pianist in the tions policy, according to Duning, Rogers, Stan Freberg, Bill Lee. Sonny wund Bu film. hinges on the appointment of a special Burke, Gilmore, Henry Mancini, Vil pieaiher, । ‘‘I know they wanted me to do the reviewing committee, which would Valentin. Alexander, Marvin Schwartz, [Baptist c music," said Gamer, “but it got to judge film music on a quarterly basis in Bänd Len be too much of a nuisance. They contrast with the existing practice of Morris Stoloff. and Roger Wagner. wanted for it, too Noth­ evaluation, by the entire music branch, Paul Weston, past president and ing ever happened.” of all eligible movies during a relatively board member of the organization, re­ Deluged with more night-club and brief period prior to the annual nom­ mains a national trustee of the academy. concert offers than he can handle. inations. Each quarter, the committee NARAS recently awarded five schol­ Garner is able to shrug and say of would choose the five or 10 best-quali­ arships. One award was to Mavsadi>r movie work, “Who needs it?” fied scores in the three established cate­ setts Institute of Technology, for study "They wanted me to do the music gories and then submit its selections for in audio engineering. Another—in for a beatnik picture, too,” he dis­ nominations to the academy. graphic arts—was made to Pratt ¡Mb closed. “Man, what do 1 want with that? “The matter eventually had to come tute. Three music scholarships 1 lived with all them beatniks years ago to a head." Duning said, "because so made to the Eastman School of Must in Greenwich Village. How do I know many fine musical works were being the Manhattan School of Music, and th* how they’re livin’ now?” overlooked. Our proposed plan will School ot Jazz. DOWN BEAT pert WELDING guitar, playing on the sidewalks of cuds Sun (Lightnin’) Hopkins, at 49 years Houstons Negro section, at dances, i doe-^Hnlacc and after more than 30 years of house parties, picnics, in jook joints — ts th?* MM blues on the sidcualks oi his anywhere. ’ ne W jxivi Houston, Texas, at last is begin- For about 10 years he even enjoyed plan cm h „4 to receive the recognition deserved a modest success as a recording artist ‘ •■'wnh 8 one of the finest tradition-minded on the southern blues market can that, ( ¿^temporary blues artists. In the years immediately after World m w ould he pute years ago, virtually unknown War II, he cut his first recordings for and for ih .. j|| but the most dedicated of blues a series of small independent producers, Hopkins was tracked down eft’ the first in 1946 for Aladdin and then j ultimately recorded by a Houston for Houston’s short-lived Gold Star .^»right-folklorist, Mack McCormick, label. .Meless blues authority, and by Sam Through the late 1940s and middle my (¿ten. who then was bringing his '50s he continued making records, main­ academy of Sneering book, The Country Blues, to ly for the Los Angeles firms that were this mood) umpletion (Charters was so impressed shaping up the prototypes of the music odicen aad the emotion-charged singing and now known as rhythm and blues. r the Lu guying of Hopkins that he devoted a He recorded more than 200 sides for Hchapter to the man and his music.) such labels as Aladdin. Gold Star. Jax, was Soouv Since then. Lightnin’. with 11 LPs to Score. Sittin In', Mercury, Shad, Herald. RPM, Decca. Harlem. Chart, TNT, and nee speech, B credit and several more in the offing, are pledged Im become the most recorded of cur- Ace. Most of these discs were cast in ■ and go« vn bluesmen and recently became a the r&b mold, with Hopkins' acoustic unded." He HBcert artist, presenting on the stage guitar replaced by a shrill, overamplified «id growth enentialh the same program he's been instrument and backed by a sodden and oming year. pring on the street comers of Houston's heavyhanded rhythm section. Despite these handicaps, there are Voyle Gil- •Moling Negro wards for the last three some magnificent blues among them, second vice (Hades. Enthusiastic about concert and on practically all a measure of his Meunder wri. he recently described it as being intensity, power, conviction, and in­ and John “jut like when I was playing on the jilmore, u meet When I get on a stage like I've volvement shine through. Hopkins was a popular recording art­ governor!, done here lately — well, I feel just like ist in great demand until a few years residency. 1 wu on a street comer somewheres, ad I play like 1 did because, you see, ago, when the tide of rhythm and blues re-elected Fa playing for people who are listen- ebbed. Rock and roll succeeded it, and ss Whiting he was unable to accommodate his >ry), Elmo V Though he is established as one of style, always firmly in the traditions be­ lane icon- ie country’s leading authentic folk- hind him, to the trend. He was earning Aord), aad tas performers, Hopkins’ rise was a sporadic living in the various jook his kind of preaching, and I'd just get mt easy. joints in Houston, playing and singing re Johnny alongside and start playing with him. for a dancing audience—rather than a tors), Daw Bom on March 15, 1912, in Center­ He never run me off like he did them listening one. to which he had formerly ers). Mad others who’d try. So I complemented tie, Texas — the heart of the Piney sung on the streets—when McCormick rs), Russrii Woods country, a spawning ground of old Blind Lemon on / Walk from Dal­ found him. (art direc­ ie intense, impassioned brand of blues las, I Walk to Wichita Falls, and You Io Almeida ctaracleristic of the Texas bluesmen — Ain’t Got No Mama Now . . . Just a /In impressive series of recordings, er nnstro he early came under the influence of little boy I was." made under McCormick's supervision, Blind Lemon Jefferson, perhaps the The young Sam eagerly absorbed issued on U.S. and British labels, has board of greatest of the Texas blues singers and what he could of Lemon’s playing, and served to introduce Hopkins to a wider is founded ie first to achieve prominence outside further assimilated the harsh, acidulous audience and to establish his reputation the body a the region. Texas blues traditions through his work as the finest of the unalloyed country Of his association with Jefferson, with his brother. Joel, nine years older blues singers still performing in the h one year Hopkins recalled, “ . . . When I was than he; his cousin Texas Alexander, classic style. le Shorty »1 a little boy, I went to hanging one of the earliest recorded country This series of recordings—especially xe, Sonny round Buffalo, Texas, where all them blues artists, and Lonnie Johnson, the two discs on the Tradition label, Coun­ ncini, Vai preachers came together for all of them New Orleans-born singer-guitarist who try Blues, TLP-1035, and Autobiogra­ Schwartz, [Baptist church] association meetings. then was working with Alexander. phy in Blues, TLP-1040—forcibly dis- agner. Blind Lemon, he’d come, too, and do From these celebrated performers, (Contmued on page 66) ident and and from scores of other anonymous zation, re­ wandering minstrels — only a handful ; icademy. of whom ever recorded — with whom he came in contact, Lightnin’ learned five schol- Massachu- the traditional tunes and the traditional ways of performing them: the voice for study rich, expressive, charged with intense nother—m feeling, the guitar dramatically under­ ’ratt Inri­ scoring the bitter vocal lines with an­ hips “W swering lines in an exciting antiphony. of Musk ic. and the Since his early teens, Hopkins has ®?1 earned his living from his voice and July 20, 1961 • 15 t view of

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■ILL ABOHUnr aa chords If you have access to a file of old Down Beats, it is more More than 10 years later, John Lewis was to say that Wears. ? than casually interesting to re-read two articles that appeared musicians “may be influenced by a lot of things. They’re ‘Harmon: under the byline “David Brubeck’’ in the Jan. 27 and Feb. influenced by Chinese sounds, perhaps, and if you want to St people o 10, 1950, issues of the magazine. use these things, you shouldn't be bound by the rules.” ik we die In the articles, written in collaboration with his wife, Iola, Also, 10 years later, jazz was to see more and more piaved, thoi Brubeck, then 29 years old, wrote, “If the composer wishes musicians—Eric Dolphy, pianist Fred Kaz, and others— tear musi to use jazz as a folk source, he should go to the fountainhead reflecting, either unconsciously or deliberately, influences of “We play« —to the original blues, spirituals, and ragtime—so that his Middle Eastern and other musics, continuing that broad »jo on to music will not be victimized by the usage of a cliché of one cultural assimilation that Brubeck had noted and urged. loe Morello of the shortlived eras of jazz. In some ways most interesting of all, Brubeck wrote, “The lu percuv> “I am not saying that the future American composer does future American composer will write music which must be to a lastinj. not need to have a European (musical) background, but I interpreted with an understanding of jazz—its particular spirit am saying that it is secondary to the essential thing I call as well as its peculiar techniques in phrasing, tonal color, inibeck I sumec ‘spirit’.” and instrumental range. When jazzmen got around to doing what Brubeck urged, “The jazz musician is not in the position to interpret this "We kno they were to substitute the word “soul” for “spirit” and were music, even though he may be more akin to it in spirit, be­ >w . d' to fluff Brubeck off as one of those alleged to lack it. cause he has not yet gained the necessary familiarity with «even V “Jazz has taken unto itself characteristics of almost every musical notation and other intellectual factors in musician­ »you an type of which can be heard in America,” Bru­ ship. The symphony musician is handicapped by his in­ rands rha beck wrote. “It absorbs national and artistic influences, ability to feel the complex rhythmic changes, unique phras- wempor.. synthesizes them so that they come out in the jazz idiom ing, and the peculiar timbre of jazz. « simple and no longer typify just New Orleans, the South, the Negro, “If the American composer is going to reflect success­ "On the or the Italian street song which may have inspired it—but fully his background in his music, the instrumentalist of the danced rl American music.” future must have gained a knowledge of both techniques.” •'t think The observation was musically acute, but socially naive: A decade later, the conservatories had turned out a small ^Merini Brubeck did not foresee the rising bitterness that would bring but growing number of musicians with the double back- •» thoi some Negro musicians to claim jazz as uniquely theirs, and ground Brubeck hoped for, talk of a Third Stream in music jM^t a insist that ofays couldn't play it. had become commonplace, violinist Harry Lookofsky had W ha “I would not be surprised,” Brubeck wrote, “to hear a come over from the symphony side of music to read and "We re ”h jazz musician who had been exposed to Chinese music use record jazz writing with a true jazz feeling. And almost “ i devices from the Oriental system while improvising a everybody had forgotten the.k, clarity of Daveno«. Brubeck*Rniheck’l ** °* us "Now ho chorus.” foresight. 16 • DOWN BEAT Lt vie* Of the foregoing, it should be evident that whatever tional response from a chord? And how long is it going to ■ view ot Brubeck as a jazzman, his incisive musical take the European mind to get great satisfaction from Bating i$ due respect. If he foresaw so much then, what rhythm as complex as some that we heard in India? Ka vie* of jazz today—and of its future? “In the West, the mass audience can get the feeling of & views are in keeping with the ideas he expressed in conflict in the music of Arnold Schoenberg or Alban Berg, ¿Down Beat articles more than 11 years ago. They have, but not a feeling of resolution, which is supposed to be there. grown and expanded. Darius Milhaud once told me that the reason he didn’t like gt believes that at this stage of musical history, the 12-tone music was that it never seemed to start somewhere should be on synthesis, not on further explora- and never got anywhere. * Broadly cognizant of the various musics in the world, “Milhaud said that because of having no home base, no cw«nK more than ever to see them combined. tonality, which 12-tone composers claim to avoid—though ■Bri. was really a reactionary in his day,” Brubeck said he says that there sometimes is a tonality where there is p-My. “even by his own sons’ standards. What he did supposed to be none—because of trying to avoid this, they Msynthesize what had gone before. miss out on the most emotional response you can get in Be lives; his children don't. music, which is the beauty of a modulation, where you ■And tach, by synthesizing everything that went before, take in your breath in surprise, saying, ‘Ah! A new key! i JI being used as a foundation. We need this type of mind, We've risen to a new level.’ Kited many minds like this at this time, to resynthesize “You can’t get that feeling if you haven’t been grounded ot only Western European music, as Bach did, but the in another tonality, and this is true whether you’re a musician ar of the world. And there's going to be many guys, not or not. You can feel a tonality when you’re raised out of it. ot one guy, because the scope of the task is so large. “Incidentally, this is a thing that isn’t done enough in ‘fat the point is—and this is very hard for me to jazz. I wonder why we stay in the same key so much? It’s eMize, to say what I feel, but let me try—music must, to a funny thing that we don’t use modulations more. Even the ¿■nicate, bring forth emotion in the listener, through old stock arrangements had modulations. . . . Ktftist. The artist must feel something so strong in his “Anyway, what I can see for a future music involves i J that when he plays it, this emotional sound strikes the getting the European to use the rhythmic heritage of Africa, mner with a similar emotional force. the Middle East, and India, and getting the Indian, who is Take the 'amen' cadence, the plagal cadence. In certain so much more trained rhythmically, to use the harmonic MBitances. it gets a certain emotional response from aspects of music. All these cultures have proved their emo­ ¿dkm audiences. But what about the Indian in the middle tional responses through hundreds of years. Now combine if Alia? He gets no emotional response whatever from it. them and get the combined emotional responses. Tou find this out if you tour over there. If you're like “And I’m not the only guy thinking in these terms. There nndf, you start on the tour thinking that music is a uni- are people like Henry Cowell and a Jesuit priest who is study­ «iil language. You come back knowing damn well that ing in India right now.” lal ‘Aad how do you know that it isn’t? Because you've ow does this awareness of and interest in the world’s places where there was no emotional response to variegated cultures affect Brubeck’s own music, and indbing you've played with emotion. You've played cer- the playing of the quartet? X ABOtMATW ua chords of known emotional content and they fell on Most obviously, it has led to some of the music in the albumsH Time Out and Jazz Impressions of Eurasia. It is o say tint Wears. Nothing happened. S. They’ll ‘Harmonically, there was no emotional response from also reflected in an alert attitude Brubeck has toward ou want to lepeople of Rajout, India, where the quartet played on that audiences: he is well aware that no two audiences are alike, rules.” w we did. It's the most isolated, un-Western place we that what gets a response from one group will fall flat with and mon AW, though they had a college of Indian dance and another. Nor is this true only when the group is traveling abroad. d others— bier music there, which means they were cultured people. fluences of “We played at the school, but they had absolutely nothing “I think,” he said, “that the strength of the quartet lies that broad • p on to enjoy us, though they broke up finally when in the fact that it has an emotional range wider than that of I urged, lot Morello played a drum solo. That was when I realized any group I know playing, even big bands. When we run /rote, ■‘The M percussion is the only universal language in music. It into an audience that accepts what one certain member of :h must be till lasting impression on me.” the group is doing, we sense it. cular spirt “Within an average month, we might play the Apollo onal color, ibeck paused to marshal his thoughts and then re­ theater, which has one of the toughest audiences in the sumed : world. But there’s a certain way you can play to get to terpret this “We know pretty much that if you get as advanced them, just as there’s a way that you play at a music college i spirit, be- raonically as the contemporary composer is, you often where all the kids are studying Bach. liarity with r■t even Western European minds, for the simple reason “When you go abroad, of course, the problem is more i musician- ■ you are not touching on familiar emotional-harmonic acute. In Poland, it was the lyricism of Paul and I that by his in- ot»ds that can get a response from the audience. The made it. In Turkey, we didn’t dare play a ballad; they got ique phra*- temporary composer, judging by his music, wouldn’t use too nervous. You sensed that you could play lyrically up ■ simple plagal cadence if it killed him. tempo, but don’t let that tempo drop. Maybe they have ct success- the other hand, when the Indian musician gets as slow things in their music, but with us they wanted the alist of the l*>oced rhythmically as some of the things we heard, I excitement. In India, as I mentioned, it was Morello who jchniques." ■' think even the Indian audiences can understand what got through to people. aul a small Opening. It's getting too complex rhythmically even for “There's a certain trust that you try to get from an uble back- tos thousands of years of rhythmic training as a cul- audience, and you want to get it as soon as possible—making m in music •t. just as contemporary classical music is getting too them know that you’re not going to bore them, that you are kofsky had ""Plex harmonically for Western ears. capable, that you are a good group. Because once they trust j read and ^erc hundreds of years ahead of Indian audiences in you, you can do anything. Ind aimed *>*ional responses, harmonically, just as they are way “Some groups walk out on the stage and never let the Brubeck’s yd of us rhythmically. audience get to this point of trust. And if the audience "^ow how long is it going to take them to get an emo- doesn't accept what they’re doing, they’ll turn their minds

July 20. 1961 • 17 4

against that audience. We don’t do that last year, having left their handsome San Francisco U “For the first tune, I try to call something where each because Brubeck felt that at this stage of his career, beta guy in the group will be featured. That’s why I use St. Louis to be near New York City. Blues so much as an opener Then I can judge the audience. One of his projects is a musical. He has completed! At the same time, since all of us are heard on the first tune, music, and Louis .Armstrong, for whom he wrote it, is vm CrriTII and everyone's ego is satisfied, the group tends to relax and interested in it. Carmen McRae, the other principal ft UK beck had in mind, has done a complete sketch tape ofd H 1*1 then start concentrating. “Maybe the second tune I’ll try to stay in the accepted show, with Brubeck singing (dreadfully!) the part meantfo jazz idiom, so that the audience knows we know something Armstrong. The music is imaginative, and a cut above mos Itefuit. about basic jazz. The second tune, I’ll maybe do a dedica­ of what finds its way to Broadway, which may be why la tion to Fats Waller, which is my way of feeling more re­ has not been able to find backing for it Given a good boot and starring Armstrong, it would seem certain to have aloq laxed about what I’m going to do later on. And later, when Ite tarli we do start playing more complex things, were able to Broadway run. take the audience along. The Brubeck home (he rents it from Irving Towny^. 2 ¿j Columbia a&r man who now lives in Los Angeles) is a u of < “One of the stupidest programings I ever did—and I white frame house, rather typically New England in ap. guitar learned a lesson from it—was to play at the Royal Festival pearance, on a quiet country lane. Behind it, a long Mi nott Hall in London our Time Out album, with maybe one slopes down to a stream, beyond which there is a tall stand M Lonn standard—or maybe none, I forget. We were on about 25 of trees. It is a perfect place to bring up children, and thg Btramcn,-> minutes. We bombed. Brubecks, as of this last May. have six of them. Bright- ®110,1 *” “But on our recent trip to Europe, I started more con­ eyed,eved. intelligent, and showing signs of musical talent (ton. 1 ventionally and then went into the complex things, closing mt known their father's immense gratification), they bounce in andou Tte 1931 with Take Five, the 5/4 tune As an encore, we usually did of the house like a passel of puppies. Brubeck's life is wrv IM big ' the 9/8 thing. Blue Rondo a la Turk. It always broke it up much centered on his family, and he takes satisfaction ii Gi But we'd been leading up to it for an hour and 45 minutes. that he has been able to make enough money from musk i«*, Carl “That's one thing the new guys, using new concepts, to assure it a secure future. |Bn»H gr should learn. It’s very important.” He impresses this writer as being one of those rare truly happy human beings. o much for Brubeck the musician and Brubeck the musical seer. What about Brubeck the man? Has he Maybe that is because he has a wife who evidently under­ changed much since his early days in San Francisco? stands him The remarkable Iola Brubeck is an intelligent and articulate woman with a keen sympathy for her hus­ Judging by the views of those who knew him then, he has S band's problems. Perhaps this is because she is creative changed little. herself. She has written the words to many of Brubeck's At 40. he has a fashionably handsome sprinkling of gray tunes, and is. if the music business ever discovers it, one in his dark hair, but there is still about him an air of youth­ of the best lyricists in America today. ful openness—a quality almost of naivete He has the But probably the basis of Brubeck's contentment is a deep somehow touching eagerness to be understood of a boy in faith in himself. late adolescence, never, apparently, having acquired that His wife recalls an incident that indicates that this faith resignation about the difficulty of human communication has always been with him. that settles on most men by his age. When Brubeck, unknown and with no money, began But the naive quality can be misleading, and those who talking of marriage to her. he told her of his many aspira­ know him well, including his wife, say that he has an oddly tions, and warned her how hard his struggle would he accurate intuition about people. In dangerous circumstances, “It’s funny,” she said. “I can still remember the exact spot body. Noi he seems to hear some inner warning bell and is then on crossing the Oakland bridge where he talked about it.” runctional If it wi his guard. “It may take me a long time, and it may be very hard.” sonality n Brubeck and his wife have lived in Connecticut for the he told her, “but 1 know I can do it Kiwants o lints . ft This

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DOWN BEAT incisco These men were primarily rhythm guitarists, and when they soloed, it was generally in a chorded style. The possibilities of areer, he R CHRISTIAN single-string horn-like solos were not often explored. An exccp- tion to this stylistic tendency was Django Reinhardt, the Belgian ompleted Gypsy guitarist whose influence on other guitarists is still felt ote it, is In the mid-’30.s came the first experiments with amplification. 'fincipal Eddie Durham, who played trombone with the Count Basie h tape of,i [BREE APPROACHES band, was among the first to use an amplifier on guitar, his an meant fa second instrument. But when Charlie Christian, playing long- it above mos lined, single-note amplified solos, exploded onto the jazz scene » be why □ Ite P,itar has cvolvcJ n»0« slowly and less spectacularly in with the Benny Goodman band and sextet, took a a good book c *a0 other instrumcnt’ with thc P°S8iblc exception of giant step forward. Although he died less than three years later, Christian spoke out in such clear, firm tones that his is earliest jazz bands in the South used guitar, if we are to still the dominant voice in jazz guitar. His shadow has touched gj« by old photographs. By the 1920s, however, the instru- all who have followed him in jazz guitar; few, if any, escape ig Townsend bad been dropped by most groups, or supplanted by his influence; none has pushed the guitar a second giant step. des) is a by g*), Of course, many country blues singers of that decade Among the several guitarists who are active today and who gland in ip. „a guitars But use of guitar in instrumental jazz was rare, have attempted to go beyond Christian to open new vistas are , a long fiek ier- notable exceptions to be found in the careers of Eddie Jimmy Raney. Bill Harris, and Wes Montgomery. s a tall stand J* LO““« Johnson (nol only a blues singer but a respected Raney and Montgomery are two of the most successful Iren and th sawnentalist who recorded with Louts Armstrong and Duke outgrowths of the Charlie Christian tradition, each representing he ’ Bright gW011 the , Bud Scott, and Johnny a development from a different facet of Christian’s playing ■iii » । kCyr. (St. Cyr and Scott, despite their skill on guitar, were Harris, along with fellow Washingtonian Charlie Byrd, while ' ' lot known for their banjo work.) not shunning the traditions of jazz guitar, employs classical ce tn and ou 1930s found the number of guitarists in jazz growing Through his guitar, he speaks fingering techniques—and sometimes conceptions—in his work. s life u ven big bands of the swing era used guitarists, men like Taken together. Raney. Harris and Montgomery represent a atistacbon a Green. Dick McDonough,much moreGeorge often, Van although Eps. Allan the broad section of the spectrum of contemporary jazz guitar. jazz world has not had the op­ from music tens,If itCarl weren Kress,’t for and his Carmen impressive Mastren. talent, Outstanding his retiring guitarists per­ Thus, on this and following pages, this three-part article on i anil groups of the '30s wereportunity Al Casey to hear and him Teddy too Bunn.much three approaches to jazz guitar. sonalityMy. Nor might is his doom guitar himverbose to theWhat anonymity he plays isof always playing a jse rare Kiwanisluctional officer and integratedinstallations. part of a style. Raney admits that he is not the kind who can push him­ dently under­ A This is not from any lack of conviction about his an intelligent for her hus­ JIMMY RANEY e is creative of Brubecks immy Raney is a taciturn man overs it, one —that’s apparent to the most casual observer. Hardly verbose, tent is a deep even in the company of friends, he is, when he does speak, usu­ hat this faith ally worth hearing. toney, begli many aspin­ e would be ie csact spot buut it.” : very hard,’ J D. SCHLITBM work. In 1954 and 1955, Raney won in Down Beat's International Jazz Critics’ Poll. But if the critics can’t hear you. even they are going to forget you, too. In playing. He simply dislikes the business the 1960 critics’ choice, he received only seven points. end of jazz. Booking agents are not his Musicians have always been his greatest advocates. Those favorite people, and he prefers not to deal who arc closest to him point to his continuing growth and with them at all. “I can’t stand to exploit. feel that he is still the jazz guitarist. LEIB myself in any way,” he said. “It’s unpleas­ Vibist-composer Teddy Charles, now jazz a&r man at ant to me.” Warwick Records, met Raney in the Buddy DeFranco group ing the last seven years, Raney has kept most of his in 1948 and has been associated with him, in one way or rities on the periphery of jazz, in contrast to an earlier another, since. Charles is unequivocal in his positive opinion shod that culminated in 1954, after two years with Stan of Raneys stature: “He’s the greatest jazz guitarist today jc and a year with An abhorrence of travel and has heen since 1946—also one of the three most crea­ ri been a contributing factor in keeping him in New York tive musicians in jazz today along with Monk and Miles " ty- But he has not been in the New York jazz clubs and, Partisans of different musicians are likely to view Charles ■ tfie last two years, there was not an album out under his statement with distaste. However, the point is not to bridle name, but to realize that whether Raney deserves the exalted In jazz, absence does not make the fan grow fonder. rank assigned to him by Charles, his work is worth inves­ never has won any of the reader polls in U.S. jazz tigating if someone with the musical knowledge and under­ (in the mid-50s he did win France’s Jazz-Hot standing of Charles can be so emphatic in his praise. levera! times). His name, how-cver, was always promi- Charles does not let his remarks pass without giving f on the lists until the last few years. The 1960 Down reasons. Readers Poll found him in 13 th place with only 81 “Jimmy was one of the first to grasp the lyricism and turn it into long flowing lines of his own.” he critical fraternity, in the past, has appreciated his said. “He went through the chord changes melodically, not July 20. 1961 • 19 just running them. He’s a spontaneously melodic player. n June, 1945, Raney, hungry for the kind of Ra Not only has he grown but he has anticipated new things experience he couldn't get in his home town, left ar in jazz. His own piece. Composition for Four Pieces, on Chicago Since he didn't have any concrete job New Directions, Vol. I (a Charles 10-inch LP, recorded New York was out of the question. Chicago, besides U for Prestige in December, 1952, but never reissued) and closer to Louisville, also had a ready-made base of he the way he played on Edging Out (same album) fore­ tions in the large apartment which his uncle and had wo shadowed things that Coltrane. Miles, and Gil Evans are mother shared. tteBluc doing today. I don't think he influenced them, but the First he worked with pianist-vibist Max Miller. He mt I trom Eu abstract harmonies and the use of the upper functions of altoist and pianist L ennie Tristano. Then h Ad°*n ' the chords are things that Coltrane has reintroduced in began to mingle with young musicians like pianist La k t"Lyon“ tr recent years.” Levy, bass trumpeter Cy Touff and tenorist Sandy Mow W m One prominent musician on whom Charles feels Raney They played together in Jay Burkhart’s big band and a to the cc had a direct effect is . He cites the tenorist’s the numerous sessions around town. Kt but

July 20, 1961 • 21 The chief liberator was, of course, electrical amplification, along toward the close of the 1930s. It completely altered the jtinanding role of the guitar in jazz, taking larger citie’ it from the anonymity of the rhythm section and giving it Harris s ^getnents; a strong voice of its own. onBILL equal footingHARRIS with the horns. As a result, the guitar adopted a linear, many-noted horn­ axiiences r n recent years quite a bit has like approach, an approach that finds its fullest expression arns been written—mostly in the liner in the work of Charlie Christian, and more recently. Barney tant notes of albums featuring jazz Kessel. Jim Hall, Jimmy Raney, , Herb Ellis, Bone foot r and Wes Montgomery, amongguitarists others.—about the liberation ** guiti of the jazz guitar. _ play He folio' petrances of with a i M an al potata and obviou Soon he found himself more and more attracted to ti of them ar classic guitar repertoire. He began working out a it Then he classical pieces with a flat pick on his electric mstnnna I ments of When later he transferred to the Columbia School i highly pub Music in W’ashington, Sophocles Pappas, director of A (low, Oner school and a close friend of the renowned classical guito tightful on The continued use of this hornlike Andres Segovia, took a lively personal interest in him u «y H Things approach inevitably resulted in a encouraged him to pursue further and more intense ituA Loa, and i PETE corresponding de-emphasis of those of the unamplified guitar Under Pappas' sure, friend He cone characteristic instrumental techniques guidance. Harris made rapid improvement in mastena spiritual th peculiar to the guitar, techniques best the exceptionally demanding idiom. »he used exemplified in classical and flamenco Harris had been doing some teaching at various sdxn J( texts fr guitar music. These two idioms rely for their effectiveness in the area as well as playing with a number of jazz group i book of on a complete exploitation of the instrument’s potential, in an effort to support himself and his family while cm Harris' mixing melodic, harmonic, and contrapuntal elements in tinuing his studies. As his family grew, though, it beam the advam. an astonishing complexity, and utilizing to a greater degree increasingly difficult to make ends meet, and, finally i k sticks the elements of dynamics, shading, and tonal contrast. 1950. he was forced to give up his formal studies and bi »mg mus Several attempts have been made to fuse the classical and a job as the featured accompanist for a highly successti which he jazz guitar approaches, but generally speaking these experi­ rock-and-roll group, the Clovers. «tri He ments have been as unsuccessful ar they have been provoc­ He remained with the Clovers for more than five yea ative. The most completely satisfying results in the fusion (“it was a living, I guess"), and it was on the long, gnio of the two idioms thus far have been provided by two ing road tours with the group that he brought to fine pofci Washington. D C., musicians. Charlie Byrd and Bill Harris. his striking fusion of jazz and legitimate classical guiu Of the two, Byrd—through his impressive work with the techniques. Woody Herman Band at the Monterey festival, on a recent He practiced whenever he could, and, in fact, it w government-sponsored good-will lour of South America, while he was playing in a dressing room between sho* and on numerous recordings with his own small group— that guitarist Mickey Baker, a respected New York stud» is the far better known in jazz circles musician and half the rock-and-roll team ot Mickey in Harris’ accomplishments on the instrument, however, Sylvia, heard what Bill was doing and encouraged him a are no less impressive or significant (as Byrd would be make some demonstration records. Baker took the die among the first to point out). But Harris has yet to to his friend, Bob Shad, then director ol the Mercury rec­ achieve anything like the widespread acclaim of his close ords’ jazz subsidiary, EmArcy. Shad was so impressed wd friend Byrd. Harris' unique stylistic synthesis of the two idiom! uu he arranged a recording session ill Harris—no relation to the former Woody Herman The results of the date were released as Bill Harris. trombonist—was bom in Nashville, N.C., in April, was a very happy session all around,” Hams recalled, Tl (ornery। \ 1925, the son of a minister. He was taught the rudiments unamplified pieces on the Spanish guitar, and mostly W Schuller, of music in his earliest years by his mother, a pianist, and lads. In fact, it was an all-guitarists’ session—Bobby < Shad), brought I Bwas soon playing the organ in his father’s church. w ho supervised, plays the instrument himself, and so did to of Rivers His first exposure to guitar had rather disappointing engineer on the date So. you see, they made sure tbai Since t results. At 12, he was given one by an uncle, but he made everything came aff well on the technical side. Sort of1 Lionel H so little progress on the instrument that he eventually gave labor of love for everybody involved.” amen h it up. A second album followed. The Harris Touch, featuna? In 1943. Harris entered the army, seeing service in him on both unamplified and electric instruments. «Mfr both England and France as a member of an engineers’ tively backed by pianist and a rhythm section unit. A stint as a bugler was his only musical experience A third collection is as yet unreleased. ULI in service. After leaving the Clovers, Harris returned to Washing­ Upon his discharge in September, 1945, he decided to ton. For several years he taught guitar, both tazz M ILEA take advantage of the educational opportunities afforded classical, at the Washington Junior College of Music, when broth* in the GI bill by taking up music seriously. He went to b he had begun his studies more than a decade before, k- pnery 1 Washington, DC., where he began to study modern jazz cently he opened his own guitar studios, and teaching » Ac ongn guitar techniques on the standard amplified instrument. mains the backbone of his livelihood. wo the« This time there were no difficulties. He made rapid prog­ During this time he began concert appearances, ne Pinned ress, and the further he delved into the study of the instru­ quently playing a number of colleges and universities» Pmes (i ment, the more impressed he became with its potential. several clubs. He appears often in recital before the highly 22 • DOWN BEAT guiding audiences of the classic guitar societies m the the modernists, one infers from his comments—though liner cities. he immediately follows this up with the statement that he Harris says he prefers concert work to night-club en- “finds something good in any kind of music that’s played ngements; he finds the atmosphere more congenial and the well and has something valid to say. Lances more attentive and appreciative. Hill’s playing has much the same beauty, lyricism, charm —and solid strength as well—as the playing of such stal­ arris is a tall, muscular man with a shy, almost hesi­ warts as Benny Carter, . Ben Webster, and tant manner But when he hunches over his guitar, Harry Carney. And his rock-and-roll background assures one tool propped up on the small wooden block in the a fundamental and propulsive swing in all he does. ic guitarist’s pose, all hesitation disappears as his large B Anyone who has attempted to play classical guitar and play with confidence is aware of the difficulties involved in merely executing a He follows much the same format in all his concert ap- written score can appreciate Harris* improvising within this udnnci' at a Philadelphia recital, for example, he led discipline It was good to hear at the Philadelphia concert / with a trio of short Bach pieces—a saraband, a prelude. that the numbers, as he executed them, differed markedly in allemand and followed these with a Scarlatti from the recorded versions of the same tunes. He said he and a Chopin prelude, all flawlessly executed, to has concluded that only by experimenting, only through nt obvious delight of the discriminating audience, most improvisation, can the approach he has pioneered remain acted to 1 of them amateur guitarists themselves. alive and vital. ' out a h Then he embarked on a program of his own arrange- c mstrumts neots ot popular standards. These included lyrical, yet n the last several months Harris has attained a certain ia School i highly pulsant versions of Stompin’ at the Savoy, Moon- measure of stability in his life. In mid-April he became ector of g gln. Once in a While. Out of Nowhere, Possessed (a de­ the music director and resident-group leader of a newly ucal guitans lightful original based on the harmonic line of These Fuol- opened iazz room in Washington, the Underground He t in him a Ihas been working with a rhythm section in an attempt to id Things), I Can't Get Started. All the Things You Are, Hensc state Liza, and Lover. extend the scope of his music. ure, friend He concluded the program with a medley of three Negro Of the problems involved, he has said, “With the classi­ in masterin spiritual themes he had brought together into a short suite cal guitar, you become involved with the bass line, chords, melody, and rhythm at the same time. You have to be • 1 I io be used as a musical setting for the recitation of a number mous -dMi of texts from lames Weldon Johnson’s God’s Trombones, very careful not to overcrowd the rhythm section or be >f mzz gnw i book of Negro sermons in verse overcrowded by them, since they’re not familiar with the ly while coo Harris’ arrangements, unlike Byrd’s, veer sharply from instrument.” ;h, it beam ihe advanced harmonic writing of the modernists. Instead, As soon as group rapport is established and a compatible id, finally i te sticks within the traditional harmonic framework of group approach worked out, Harris said, he plans to re­ dies and bi »ing music, an area in which he is comfortable and in sume recording and is considering starting his own label. ily succasfi »tueb he has accomplished some fine and sensitive jazz The first disc will he called Jazz from the Underground. work He has not been greatly impressed by the work of “It had to come,” Bill said, laughing. an five yea . long, gnd to fine pois issical fiuta fact it « WES MONTGOMERY ew jazz musicians have had the York studi rise to proiessional acclaim that Mickey id John Leslie (Wes) Montgom­ •aged him» ery, the guitar-playing member ok the dig of the Indiana Montgomery Mercury rec family, has had in the last two ipressed years. idiomi du Up until that time almost un­ known to the jazz public outside II Harris. “Il F his native Indianapolis. Mont- recalled. Al ¡omery was heralded by Cannonball Adderley, Gunther mostly W Schuller, and other musicians who heard him and was ibby I Shad i brought by Adderley to the attention of guitar players (including himself) with the ease and fa­ id so did tte d , who promptly recorded him miliarity born of years of listening: de sure that Since that debut (his second, for he had toured with e. Sort of« for two years in the early '40s) Mont- “w started in 1943, right after I got married. I bought an ¡omery has run away with the new-star guitar category in M amplifier and a guitar around two or three months ch, teaturinj Down Beat’s International Jazz Critics later. I used to play a tenor guitar, but it wasn’t playing, nents, sew- Poll and today seems a cinch to live you know. I didn’t really get down to business until I got Ihm xenon up to his billing .is the “best thing the six-string, which was just like starting all over to me. RALPH J. that has happened to the guitar since “I got interested in playing the guitar because of Charlie to Washio GLEASON Charlie Christian.” Christian. Like all other guitar players! There’s no way out th iazz »te For the last year. Wes has worked vsith I never saw him in my life but he said so much on the dusic, what * brothers. Buddy (vibes) and Monk (bass), as the Mont- records that I don’t care what instrument a cat played, if before. Be- Praery Brothers. The other two Montgomerys are half he didn’t understand and didn’t feel and really didn't get teaching k- te original Mastersounds quartet which, a few years ago. with the things that Charlie Christian was doing, he was te® the critics poll as best new small group. a pretty poor musician—he was so far ahead. irances, I» Pinned down recently between rehearsals and pool Before Charlie Christian I liked (Django) Reinhardt versiti« ten« (shooting pool is his only hobby), Wes discussed and I es Paul and those cats, but it wasn’t what you’d call e the highly Ju’v 20. 1961 I new. Just guitar. For the exciting, the new thing they the guitar phrase and get into horn phrasing. didn’t impress me like that. But Charlie Christian did. I “And Tai Farlow. Tai Farlow strikes me as differ mean he stood out above all of it to me altogether. He doesn’t have as much feeling as Bar* “Solo Flight was the first record I heard. Boy, that was Kessel to me. but he’s got more drive in his playing, n too much! J still hear it! He was it for me, and I didn’t his technique along with that drive is pretty exciting jj look at nobody else. I didn’t hear nobody else foi about a makes it exciting. I think he's got a better conception ( year or so. Couldn’t even hear them. modern chords than the average guitar player. “I’m not really musically inclined. It takes guts, you “A lot of guitar players can play modern chords, t. know! J was 19 and I liked music, but it didn't really in­ can take a solo of modem chords, but they’re habit , spire me to go into things. But there was a cat living in leave it within the solo range that they’re in. They're 1« * Indianapolis named Alex Stevens. He played guitar, and to get away from it and then come back to it, get am he was about the toughest cat 1 heard around our vicinity, from it and come back to it. Tai Farlow usually and I tried to get him to show me a few things. right on it. “So eventually what I did was I took all of Charlie “Jimmy Raney is just the opposite from Tai Fario» Christian's records, and I listened to them real good. I They seem like they have the same ideas in mind, tit knew what he was doing on that guitar could be done on same changes, the same runs, the same kind of feeling the one I had because I had a six string. So I was just deter­ But Jimmy Raney is so smooth. He does it without a mis mined I’d do it I didn't quit. It didn't quite come out like take, like some cats play piano they couldn’t make a ms- that but I got pretty good at it, and 1 took all the solos off take if they wanted to. That’s the way Jimmy Raney b. the records. I got a job playing just the solos, making money He gives it a real soft touch, but the ideas are just like Tai in a club. That’s all I did—played Charlie Christian solos Farlow’s to me. and then laid out! Mel Lee—he’s the piano player with “And then George Henry, a cat I heard in Chicago B. B. King—had the band and he helped me a lot. He's a playing cat He asked could he play a tune, and so ht “Then I went on the road with the Brownskin Models gets up there, and that’s the first time I ever heard a giw and later with Snookum Russell. Ray Brown was on the phrase like Charlie Parker. It was just the solos, the chords band at that time. I didn’t realize he was playing so much and things he used were just like any other cat, you knot. bass until I heard him with Diz! And there’s another guy from Houston who plays with “Hamp was the only big band I went with—1948-50. his thumb. I didn't use any amplifier at all. He had a lot of things for “And naturally, Reinhardt, he’s in a different thin Charli the sextet but he never got to record that group. altogether. And Charlie Byrd. You know, I like all gtiiur nonia ' “I’m so limited. I have a lot of ideas—well a lot of players. 1 like what they play. But to stand out like Charts loved lif thoughts—that I’d like to see done with the guitar. With Christian. Well, I guess it's just one of those things. It ma the octaves, that was just a coincidence, going into octaves. with us y aim, I think, is to be able to move from one wn It’s such a challenge yet. you know, and there's a lot that hit spin to another without any trouble. If you were goini can be done with it and with chord versions like block M guitarist to take a melody line or counterpoint or unison lines w chords on piano. There's a lot of things can be done with Every another instrument, do that and then, maybe after a cr that. But each of these things has a feeling ot its own and his take tain point, you drop out completely, and maybe the net it takes so much time to develop all your technique. musiciar time you’ll play phrases and chords or something or maA “I don’t use a pick at all and that's one of the downfalls, to an ii you'll take octaves. That way you have a lot of variations, too. In order to get a certain amount of speed, you should unless i if you can control each one of them and still keep feeling use a pick, I think. You don't have to play fast, but being ubiquito able to play fast can cause you to phrase better. If you it. To me the biggest thing is to keep the feeling within Goodm. had the technique you could phrase better, even if you your playing regardless of what you play. Keep a tediq Young, don’t play fast. I think you’d have more control of the there, and that's hard to do. uifluenci “You know, has been sort of a god k instrument. Blanton “I didn’t like the sound of a pick. 1 tried it for, I guess, me. Seems like, in a way, he didn’t get the inspiration out Chrisl of other musicians. He had it. When you hear a cat do a about two months. I didn't even use my thumb at all. But Beat sec thing like that, you got to go along with him. I think 1 heard after two months time I still couldn’t use the pick. So I some of Coltrane before I really got close to Miles. Miles had a said, ‘Well, which are you going to do?’ I liked the tone Chrisl tricky way of playing his horn that I didn’t understand better with thumb, but 1 liked the technique with the pick. *hen h as much as I did Coltrane. I really didn't understand what I couldn't have them both, so I just have to cool. approve Coltrane was doing, but it was so exciting the thing that “I think every instrument should have a certain amount solo insl he w'as doing. Then after I really began to understand of tone-quality within the instrument, but I can’t seem to sax that Miles, then Miles came up on top. get the right amplifiers and things to get this thing out. I thought, “Now this may sound pretty weird—the way I W like to hear good phrasing. I’d like to hear a guitar play terms c when I’m up there playing the way I play doesn’t match- parts like instead of playing melodic lines, leave that and chord f play chord versions of lines. Now, that’s an awful hard but it’s like some cats are holding your hands. C'mon, you playing know, and they’ll keep you in there. If you try to keep thing to do. but it would be different. But I think in those harmon up to them, they’ll lose you, you know. And I like that terms, or if a cat could use octaves for a line instead of one times tl note. Give you a double sound with a good tone to it. I really like that. Voung. “Sometimes I’ll do nothing but listen to records. Al Should sound pretty good if you got another blending in­ But । kinds, over and over. Then after a while, it breaks .md I strument with it. contnbi don't even want to hear them. Nothing. I think its bccuiw national “^Kther guitar players? Well, . I’ve got to at the times 1 don't want to hear. I’ve heard so much ^] Goodn» He’s trying to phrase, also. He’s trying to get away from was playing more in 1952 than 1 ever have." 0 to Mint

24 • DOWN BEAT as differ

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Tai Farion n mind, th I of feehnt ithout a nib make a iy Raney is just like Tai in Chicagc ic, and w ht card a guitar s, the chords UP BEAT I CHARLIE t, y ou kno» ’ plays win I CHRISTIAN Terent thin; Charlie Christian died in March, 1942. Officially, pneu­ were jamming. Things perked up when Christian mounted ke all guiu monia was the cause of death. But some say Christian the stand and played. A segment of one of these 1941 like Charu loved life too well and that this killed him. sessions was recorded by collector and fan Jerry Newman. kings. It makes little difference Charlie Christian has not been The recording was issued in the Esoteric album The Harlem with us for more than 19 years. But if his body is dead, Jazz Scene. om one ven hb spirit is not. It is in the work of practically every But most ot Christian’s recording was done with the i were goins guitarist playing today. Benny Goodman Sextet. One of the few recordings he in lines win Every guitarist who has won a poll in the last 19 years made outside the Goodman camp was a four-side session after a w has taken the style of Christian as his starting point No with Ed Hall for Blue Note in 1941. The outstanding 'be the nee musician has influenced the development of the approach product of that session was Profoundly Blue (page 26). ng or mayh to an instrument more than Christian influenced guitar, After a bass intro by Israel Crosby, Christian and Crosby >f variations .mless it be Jimmy Blanton, whose influence on bass is improvised together for 36 bars, producing one of the keep feeling ubiquitous. Not even the styles of Charlie Parker. Benny loveliest duets on records. It was unrehearsed, according •cling «vithu Goodman, Dizzy Gillespie. , Lester to Crosby. Most notable about the slow blues duet (both ep a reelins Young, or Miles Davis have been as far-reaching in their guitar and bass parts transcribed) is the rapport established influence on their fellows as have those of Christian and between the two musicians, particularly rhythmic rapport of a god io Blanton. (bars 2, 6, 14, 23, 34, and 36). The Profoundly Blue .piration on Christian's influence has been so sweeping that the Up session was the only instance of Christian’s recording - a cat do i Beat section of this issue is given over to transciptions of unamplified. hink I beare tome of his recorded solos. The A Smo-o-oth One (page 27) is taken from the Benny Miles bada Christian brought a completely new concept to the guitar Goodman Sextet recording on Columbia. Although only an understand «hen he first gained national prominence in 1939. He eight-bar bridge, this solo shows Christian’s rhythmic con­ i stand what approached guitar not as a rhythm instrument but as a ception to good advantage, as does the other short example, e thing thaï »lo instrument His solos were more like those of a tenor On the Alamo, also from a Columbia Goodman Sextet tindersUoJ jax than a guitar's. While guitarists who came before him session. thought, generally, in chord terms. Christian thought in Honeysuckle Rose (page 27) is one of the two solos way 1 W terms of linear development, not chord inversions and Christian recorded with the full Goodman band; the other ¡n’t match- chord placement. This was akin to Lester Young's linear was the remarkable Solo Flight. Cmon, playing as opposed to Coleman Hawkins' more vertical Boy Meets Goy (page 28), from another sextet record­ try to keep harmonic playing. In fact, it has been pointed out many ing, is an example of Christian’s blues playing at a medium I like tin umes that Christian took much of his inspiration from tempo. Young. The final transcription. / Found a New Baby, is of one records. Al But Christian’s impact on guitarists was not his only of Christian's best solos with the Goodman sextet. It is ircaks and I contribution to jazz during his brief three years on the played at a medium-fast tempo. ; its becau* national scene. He was the god-figure of the experimenters In all the examples, there is nurture for the jazz student, so much iß of the early 1940s—, Dizzy Gillespie, whether he plays guitar or not. Christian’s conception, his i my nstre- Charlie Parker, , and the other musicians rhythmic vigor, and his harmonic sense provide lessons tat I’ve got who were to be instrumental in developing what came to for all instrumentalists. d try to F he known as hop. Christian, when the Benny Goodman band played New York, would finish his nightly job with (All solos, with the exception of I Found a New Baby, g I think ^an. Pack b’s instrument and amplifier, and speed were transcribed for Down Beat by the Berklee School of CE linton s where Monk, Gillespie, Bird, and their cohorts Music. Boston. Mass.) July 20, 1961 • 25

DOWN BOY MEETS GOY I FOUND A NEW BABY

BEAT Here’s

Edmund Thigpen, born in Los Angeles, started playing drums at the age of eight. Last summer, he tied for 1st place among the world’s New Drummers in Downbeat’s poll of international jazz critics. In between these momentous points in his career, Ed’s had wide and varied ex­ perience. It included teaching himself to play, with some help from Chico Hamil­ ton, Jo Jones, and his father, Ben Thigpen. It spread out through engagements with the Jackson Brothers, George Hudson, Cootie Williams, Dinah Washington, Johnny Hodges, Bud Powell, Jutta Hipp and Trio. Ed’s drumming experience has culmi­ nated in his present spot as a key member of Oscar Peterson’s trio. There, he’s set­ ting new standards with a technique that calls into play not only sticks and brushes, but hands, fingers and elbows. One factor has been constant throughout Ed’s career: Ludwig Drums. “I’ve seen Ludwigs made,” Ed says, “and I think that would have decided me even if I’d never heard or played them. “I’d have picked them on the basis of the people who make them, and the care and skill they put into the job.” For a magnificent display of the world’s most distinguished percussion equipment, see the new Golden Anniversary 64-page four-color Ludwig Catalog. Send for your copy today. It’s free!

Here’s the dsuteas combination prefers:

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This is the third in a tour-part series adapted from a * (VTdW V7 25-lesson correspondence course offered by the Berklee Following is a reference chart illustrating all of the School of Music The first and second parts (DB, May 25, stitute chords described in this lesson: June 22) are essential to understanding fully this part. (a) Substitute I (b) Substitute (c) Substituted Abreast (IIIm7) IVm (bVII7) (bII7) Unas pa D. SUBSTITUTE CHORDS original substitute original substitute original suKutfa program. Substitute chords of one type or another often may be .Em7 Fm6 . h employed effectively where a more “tense” or more modern .Fm7 Gbm6 Col At>7 sound is desired. They should not be used indiscriminately Ffm7 Gm6 . Dance but rather to achieve a specific effect .Gm7 Abm6 Db7 Following is a description of the most commonly used: GSm7 Am6 . Bb7 1. SUBSTITUTE FOR THE “I” CHORD. The IIIm7 . Am7 Bbm6 Eb7 Wanne« may be used as a substitute for the Major I chord A5m7 Bm6 . Db7 naie hei The relationship of the IIIm7 to the “I” chord may be . B>)m7 Cm6 . cessini es noted in the following illustration: .Bm7 Dpm6 Gb7 "rising th Cm7 Dm6 jroce hai Cimi Esm6 Ab7 Rating . Dm7 Em6 . Gb7 dime woi I Maj» DXm7 Observe the application of this principle to the examples By preceding the V7 chord with either the original Ur (idler. N M K«y »< C: ._ or the related IIm7, the following variations are possible' A?(M) Likey, D Key of C: Dm7 C (arG») Row- Pa Dm7 Db7 C (or Gb» Asclin Aum7 Dp7 C (orGbj arvices ■ F7(M| Abm7 C (orG> ) peters Ir Note the varied possibilities for a four-chord cadcact tromboni Note: This substitution is effective only in the middle of a utilizing this technique mce dru progression and should not be used where the “I” chord is ptoonists intended to signify a final cadence Muter ,i It also should be noted that it is almost always followed In cha by some form of the V7 of II. juz am (idler. A 2. SUBSTITUTE FOR THE “IVm” CHORD. The bVII7 arocecdir may be used as a substitute for the IVm. Again, the derivation ot this substitution may be noted in ¿onducta Puch the following illustration; Fm6 BbT»l Before atberv.1 Any combination of the above may be used, provided fix sxxt-shn forward motion is maintained. phone to Following are some examples of chord progressions en- ly disease ploying all substitutions described in this lesson: "Don’t Application of this principle might appear as follows ►»»»•<<• jam _____ an »oungste aces in He we heware c azz mus accompli may hi « ’ bvin him. Ge) SUBSTITUTE FOR THE “V CHORD. The bII7 bard to may be used as a substitute for the V7 chord. ad to n Notice that the third and seventh degrees (which estab­ favorites lish the chord as a dominant seventh structure) are the Whin same in each case. fie ques rovisini (CT) to love » all thi The a to the o In the following examples are illustrated some of the many I aewtr ci applications of this principle: fisi idol (•I Kaf J Cs (.* (GT) Note: The principle of the substitute dominant may te fiat he more easily mastered by remembering. V7 resolves down Willie S nusiciar fifth. Substitute V7(bll7) resolves down a half-step. h toda ASSIGNMENT consider Compose two eight-bar chord progressions in everv I* fashions using any of the techniques covered thus far in the series Copynght Berklee Press Publications DOWN BEAT aims and aspirations musically, Geller rise, both of which were received with told the students he would most like to unbridled enthusiasm by the young mu­ SCHOOL achieve “freedom from the tyranny of sicians and adult clinicians alike. the bar-line. But it's a very hard thing During their clinic workouts, the all of the to be consistent in this.” various bands were rated by the judges Finally, said Geller, “Don’t let people on seven basic points: general musician­ Substituted JAZZ Abreast of the growing interest in bother you, don't let them make you ship (in detail), organization and ap­ (bH7) gg part of the nation’s school music nervous. Nervousness will come out in pearance, sections and individual play­ nal substite program, southern California music ed- your playing.” ers, soloists (by name and instrument,) 7 •DW ¿¿n in mid-May held the second His remarks concluded, Geller was vocalists, comments on individual selec­ b7 •D7 jjgua) Southern California School joined forthwith by Perkins on baritone tions, and general comments. 7 • EW pguce Band Clinic-Festival at Los An- saxophone. Florence on piano, Bagley Rated to tie for first place were two ..F Valley college in North Holly- on bass, and Sperling on drums for a high school bands, one from the San ..F7 wood- .. „ , stimulating live demonstration of im­ Fernando valley community of Reseda, GW planned and directed by the college s provisation. The group did justice to the other from the beach town of b7 •G7 head. Bob MacDonald, the suc- an up-tempoed Lady, Be Good and a Venice. Running third was the dance 7 AW ojuful event drew 240 students com­ medium Softly, as in a Morning Sun- band from El Segundo high school, ggj .M prising the personnel of a dozen school F BW MDce bands from desert to ocean. .17 gating the bands for proficiency in >7 .C7 riinic work was a high-caliber panel of judges consisting of , Herb original Ha? feller, Neal Hefti, Earle Immel, Claude e possible: Ukey, Don Nelligan, , Bob C(orGb) Kok, Paul Tanner, and Cy Weinstein. A SICIM C (orGi) As clinicians, MacDonald enlisted the C(orGi) services of bassist Don Bagley, trum- advanced C(orGb) prtMi Irving Bush and Ollie Mitchell, hord udeace trombonist Paul Tanner, pianist Flor­ ence, drummer Jack Sperling, and saxo­ school phonists Bill Perkins, Don Raffel, Ben Winter and Bernie Fleischer. In charge of a special interlude on of juz and improvisation was altoist Geller. An unscheduled highlight of the proceedings was a panel on arranging contemporary conducted by Hefti, Florence, and Paich. music Before a majority of the students Now accepting applications for the 1961-62 term fathered in the college gymnasium, October 10, 1961 — February 24,1962 provided that iport-shirted Geller took the micro- phooe to tell his listeners about "a dead­ COURSE OF INSTRUCTION FACULTY gressions at Piano Oscar Peterson ly disease that’s around—hipsterism.” Bass Ray Brown “Don’t be afraid,” he advised the Percussion Ed Thigpen youngsters, “to have your own prefer­ Trumpet Eric Traugott ences in jazz.” T rombone Butch Watanabe Saxophone Jerry Toth He went on to warn his audience to Guitar Ed Bickert beware of those who swear by a specific Composition & Arranging Phil Nimmons juz musician not because of what he is Music Appreciation, Experimental Supervised and conducted by the accomplishing musically but because it Groups, and Improvisational Play­ faculty. ing Forums. ■ay be considered fashionable to deify ASCM is proud of its academic reputation and is honored to quote these ham. Geller urged the students to listen recommendations: hard to all forms of jazz and jazzmen ELLA FITZGERALD: “Continued success to the faculty of ASCM. Your aid to make up their own minds about achievements will be visible in the many students to whom you bring under­ standing in a new and young art form.” favorites. : “The standards set by ASCM cannot help but be of com­ When asked by MacDonald to answer plete benefit to any student who takes advantage of the course offered by this he question “How do 1 get started im­ institution.” provising?”, Geller replied, “You have RUSSELL GARCIA: “Modern music can be very complex in its many con­ to love jazz. And you have to listen to cepts. I feel that in men such as Oscar Peterson, Ray Brown, Phil Nimmons, and the varied staff of ASCM, the young student is exposed to a wide spectrum it all the time.” of the modern music field, thus offering to him diversified instruction by ex­ The altoist told his audience to listen pert practitioners in contemporary music." to the older jazzmen as well as to the •ewer crop. As an example, he said his advanced school of contemporary music kst idol was Benny Carter. He added 23 Park Road Write Toronto 5, Ontario, Canada iant may be he still loves his playing today. Today Please mail me (at no cost or obligation) complete information fives Ion1 Millie Smith, also, Geller said, was a on your course of study. for -step. ■usician he listened to avidly, though Name ...... hy today’s standards Smith “might be Complete Address ...... n every to’ °*»idered rock-and-rollish and old- Information City ...... Zn...... State or Prov. ... “ahioned.’' he seria Instrument ...... Age On a personal note regarding his own

July 20, 1961 • 31 Folk Mi

FOLK SINGERS This is a group of folk singers. They are all college graduates. They can sing in eight lan­ guages. They make $5,000 a 'soul' appears on all their al­ FOLK bum covers. ★★★★★★ This is a folk. He is very color­ ful. He doesn't farm. H< BOLL WEEVM doesn't mend. He don't plant 'taters. He don't pick cotton. These are boll weevils. TM He’s a veteran. ★ ★ ★ ★ ★ are many songs about tW mostly written by boll weed It is part of a plot to be I cepted culturally. ★ * *

TWO-TIMIN WOMAN This is a two-timin’ woman. Many folk songs have been FOUNDER written about two-timin’ wo­ CHAIN GANG This is Pittsford Townsei men.-They can smile and lie This is a chain gang. They tinker, inventor, musician. I at the same time. They wear break rock. They sing the invented folk music. He di paint and powder and smell songs of the land. Songs about in poverty in 1841, believi of perfume. Today, they are poverty, songs about misery; himself a failure. He had bl called receptionists* ★ ★ * it’s mandatory. ★ ★ ★ * ★ trying to invent jazz. ★ ★

DOWN BEAT rvik bout

sician. -One of FENDER JAZZMASTFR^ the most popular ot modern instru­ no more convincing proof fl ment developments, the Fender Pre­ playing qualities of the F« cision Bass has rapidly become the master than its rapid acc« chcce of bassists in every field. guitarists throughout thefl Requires only a fraction of playing inq the past few years effort as compared with old style guitar incorporates ail thefl acoustic basses; compact in size and Fender developments mefl very large in performance. Fast-action new "off-set body Jesigd neck facilitates playing technique, tremolo action plus sepanJ playing in tune and is extremely com­ and lead tone circuits. In fl fortable Adjustable neck truss-rod offers a comfort coi toureifl assures perfect neck alignment. Indi­ truss-rod reinforced tasiafl vidual bridges are adjustable for cus­ with rosewood bnqerboaJfl tom string heights ana perfect string less playing and faster plfl lenqrh between bridgesand nut. Split nique Every convenience:« pickups proauee true bass tones ana including the tremolo toefofl require only a fraction of the playing master bridge channel vithl effort that went into playing old style ally adjustable two-way tpfl oass. In addition, considerably more completely adjustable h« volume is obtainable. Its portability pickups. The Jazz'nasterfl permits freedom of movement on stage one of the finest dditiofl and the fact that it is easy to carry is Fender line and tar surpafl readily appreciated by every bass instruments in its price class. player. Its fine tone quality, playin i -ENDER JAZZ BASS—This is ease and comfort has made the Fender :ender's newest addition to the field Precision Bass a stock item in many of )f eiectric basses and represents the the nation’s top musical organizations. standards by which others will be :ompared The two pickups have two roll pieces for each string giving excei- JAZZMASTER ent and true string tone response, 'andem tone and volume controls tor ach pickup permit mixing for wide jass tone selection. In addition, it eatures Fenaer's new taster-action ieck with rosewooa finger-board and djustable truss-rod tor perfect neck lignment. For playing ease ana com­ ort, the body is comfort contoured nd shaped with the "offset' * waist esign fitting the instrument to the layer's body and placing the player s nn in a natural position over the trings Individual bridges are adjust- ble for both accurate string lengths nd comfortable string heights. Every assist will find the new Fender Jazz ■ass is truly an artists instrument, ombining all the fine features of the riginal Pender Bass plus these many evelopments and improvements rhich make it the most aavanced lectric bass on today's market. PRECISION BASS 3atent Pending STRATOCASTER Gl os .j‘-T -i E W FENDER BASS GLUT AR—The New six-string Bass Guitar is the finest on Ismus» z —Perfection in a >"i >day s market It is tuned one octave below that ot the Spanish guitar This r -k •• - contoured professional guitar pl istrumert incorporates three pickups that can be used together or in any mses fast • ombination, making a total of seven fone changes plus separate tone and ing all of the finest Fender « k plus a >lume controls. The Bass Guitar has a 21 fret, extra-slim faster action neck Choice hardwood body finisned b for com ith rosewood fingerboard and adjustable truss rod for perfect neck alignment a golden sunburst shading, < Solid Mx his remarkable new guitar incorporates all the Fender developments including neck with 'usewood ,*fcWrdwooc ie comtort-contoured "off-set" body design, and smooth tremolo action. Every board, white pickguard, and'«s Sunb onvenience is provided including the “floatini bridge" with six individual chrome metal parts Three adra ■ com ridges each adjustable for string length and height, and individually adjustable style adjustable pickups, one gh fidelity pickups. The Bass Guitar is a fine addition to the Fender line and control, two tone controls ands* •■•djusta nswers the demand for a high-quality six-strin . bass position instant tone change s* Mius The adjustable Fender bridge k* st perfect intonation and softest^ Bmtonati The neck has the famous Fendrl ^up is rod. The Stratocaster is avail» andai, or without the Fender bui|g| MASTERS CUSTOM tog ' oofj AND ESQUIRE CUSTOM GUITARS of the Fem —The dual-pickup Telecaster Custom ■apid acca and single pickup Esquire Custom hou‘ th» j guitars offer all the fine playing and »rs This4 design features of the regular Tele­ ss ail the« caster and Esquire models plus cus­ lents inca tom treatment of the body. FENDER REVERB UNIT—Designer >dy desiga A beautiful highly polished Sunburst tor use with all amplification systems us separa finish is used and the top and bottom the new Fender Reverb unit offers thi cults. Ina eages of the solid body are trimmed finest distortion-free reverberation. I -red | with white contrasting binding. The is highly portable and provides th ed fast-act| necks of the Telecaster Custom and - ■ Jardl "expanded sound" effect sought b Esquire Custom feature Fender’s new guitarists and accordionists In add faster plaJ fast-action design permitting rapid tion, it is an excellent unit tor micrc '•ce «1 playing technique and comfortable phone, phonograph and tape recorde nolo ocR, ■ full chords. The adjustable truss-rod program material. The Fender revee innel wittl reinforced necks have beautiful rose­ beration unit employs a professions /o-way bril wood fingerboards. table nigM amplifier section and the popular Harr ¿master ref Each model features the well-known mond Reverberation adaoter. It can b» ‘ addiUM Fender adjustable bridges enabling used with the player's amplifier to or< the player to set the playing action to ar surpastl SiER CUSTOM vide normal sound amplification! price class. his own touch, and adjust string which reverberation is added by us lengths tor perfect string intonation. of the remote on-off reverberation coi The pickups are wide-range and ad­ trol. Circuit includes a tone conto justable, allowing- any desired string and a Mixing Control at the instrumei balance and response. input, and a Duration Control whic provides any degree of reverberatic TELECASTER desired by the player Also, no add tional components are required othi than the musician's equipment, it is TELECASTER AND ESQUIRE GUITARS—The originals of solid Body guitars ruggedly built unit, designed to tai and the favorites of countless guitarists Both feature natural blona-finish hard- hard use in traveling. The amplifii wooo bodies, hardmaple necks with rosewood fingerboards. The two-pickup section employs heavy-duty power ar Telecaster and the Esquire with a single-pickup afford wide tone response from output transformers, profession» ringing "take-off" to very soft rhythm tones. Cutaway body des gn allows com­ amplifier circuitry with silicon rec fortable fingering right up to the highest fret. Two-way adjustable bridges permit tiers to reduce heating and prolor custom string heights and perfect string length adjustments. Their fast-action amplifier life The cabinet of 3/4* wo< necks feature an adjustable truss-rod which maintains perfect neck alignment with tock-joint corners is covered wi ana can be set for varying string-tension requirements. Both the Telecaster and Tolex vinyl fabric, resistant to act Esquire tone circuits employ a three-position tone selector switch. Their pickups heat, cold and moisture, and is eas are also adjustable for any desired string response. Each is trimmed with a white cleaned Every musician desiring tl pickguard and all metal parts are heavily chrome-plated for lasting beauty. latest and finest portable profession reverberation equipment will find ft new Fender unit to be unsurpassed design and construction. Comparisi will prove It to be unexcelled in oven performance.

TUBES 1-702541 12AT (each dual purpen 1-6K6, silicon rectifiers. SIZE: Height P; Width ■ 19", Depth - 8" These Fender features assure perfA adjustment of each instrument. FER GUT O ELECTRIC MANDOLIN — Adjustable Pickups »it outstandini instrument on ASTER GW for balanced string response -sewood I* hardwooc beautifully finished ard, and It® , Three adw' ,, Sunburst± The body ----- is con-■ kuos one ri ! C0,nPlete playing comfort. Adjustable Neck Truss-rods itrolsandat< Hdjustable bridges provide for oerfect neck alignment e change s» n adjustment for both string er bridge • and string eights assuring nd softest at ^intonation and playing action. nous Fender I Wkup is adjustable for string t is availdj |# and affords the finest Mando- ELECTRIC MANDOLIN Neid

SHOWMAN 15' AMP—Tubes. 4-7025 A 2-12AX7 (each dual purpose), 4-5881, int Siticon Rectifiers. Speaker: 1—15' Lansing Enclosure. Size: Chassis Unit: Height, ■st c r; Width, 26"; Depth, 9". Speaker Unit: Height. 24%'; Width, 36"; Depth, 11%'.

SHOWMAN ir AMP—Tubes: 4-7025 4 2-12AX7 (each dual purpose), 4-5881, Silicon Rectifiers Speaker: 1—12"Lansing Enclosure. Size: Chassis Unit: Height, 8": Width, 26": Depth, 9" Speaker Unit: Height, 21' Width, 30"; Depth, 11%'.

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great s tende» p voltage a Dual Channel Circuit* • Normal plus New "TOLEX” Vinyl Covert* remarkable harmonic vibrato Hea», di attractive—resistant to stain, : »ndc'is< Silicon Rectifier* • Smoother voltage moisture, heat and cold supply—eliminates glass tube rectifier heat Fender's Lock-joint Corner* • 3/4' wood stock- Vented Cabinet • Circulating i Comoai ■■ rugged and permanent components—prolongs amp Ida free even ancell, • perform i

The amp hardest i BANDMASTER AMP—Tubes: 4-7025 4 2—12AX7 (each dual purpose). 2—5881, New! plicon Rectifiers. Speaker: 1—12" Heavy-duty enclosure. Size: Chassis .Unit: baffl- > Height, 8"; Width, 24": Depth, 9". Speaker Unit: Height, 21"; Width, 30"; their like Depth, 11%’. with a nt sions ant BASSMAN AMP —Bass and Normal Channels. Tubes: 4—7025 (each dual purpose), 1—GZ34, 2—5881. Speaker: 1—12" Heavy-duty enclosure. Size: Chassis We have 'Jnit: Height, 8": Width, 22'/,’; Depth, 9". Speaker Unit: Height, 21’; Width, lor teda, V; Depth, 11%’. them wit to give ci fui busin

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Dual Channel Circuite se new Fender Professional Amplifiers are without doubt the finest available on today's market, y incorporate new cabinet and circuit design features which will provide musicians the lest Quality amplification economy of operation and complete ownership satisfaction. i of the amps employs dual channels: Normal and Harmonic Vibrato. Both channels are ible of producing tremendous power, free from distortion, with reserve power available when fed The Harmonic Vibrato Channel will be readily recognized as the finest ever offered with ica instrument amplifiers. ry musician will appreciate the convenience of operat.-n made possible with the control panel inteo on the front of the amplifiers. Instrument inputs are more readily accessible and settings w various control knubs are easier to read The dual channels include the following controls

Front Panel Normal Channel—Separate Bass. Treble and volume Controls; Two Instrument Inputs.

Harmonic Vibrato Channel—Separate Bass. Treble and Volume Controls plus Speed and Depth Controls.

The Presence Contra1 or, the far r,ght of the panel functions with both channels.

Back Panel Ground Switch, Extractor-type Fuse Post, AC on-off Switch, Standby Switch, Speaker Jack, Jack for Extension Speake-, and Jack for Remote Control Vibrato Foot Switch supplied with each amplifier. con rectifiers used in the circuits (except Super Amp) otter smoother power regulation ana vate the heating problem encountered with glass tube rectifiers The chassis cabinets are l-vented permitting air circulation to cool the components. These Fender features eliminate teat source of amplifier failure and service problems and prolong amplifier life. Tender power and output transformers are heavy-duty, and designed to prevent overloaaing. High voltage wiring is heavily insulated, and every component is easy to locate with the chassis removed. yl Cowin Heavy-duty or Lansing high fidelity speakers are employed in these amplifiers Resistors and to stain, condensers are securely mounted on a unit parte-panel eliminating rattles and annoying vibrations. Fendfi s new ‘ Piggy-Back” Speaker Enclosures offer the finest in amplified sound reproduction, Circulating comparison will readily prove its smoother response throughout the frequency range—distortion- igs amp life free even at higher than normal volume levels. The speaker Projector Ring* employed eliminates cancellation of front and rear radiation, thus permitting greater speaker efficiency and optimum performance of the enclosure.

The amplifier cabinets are attractive in appearance, modern in styling, are constructed to take the hardest professional use. Three-quarter inch wood stock, lock-joint corners, securely mounted Baffle-board, chassis ana hardware contribute to their portability and ruggedness They retain *e like-new appearance over a longer period of time inasmuch as the cabinets are covered with a new, tough vinyl fabric, “Tolex" in light and dark colors. This material is resistant to abra­ sions and scuffs and is unaffected by moisture, heat or cold. We have every reason to believe the new Fender Professional Amplifiers are the finest available «today s musicians desiring top performance plus up-to-date styling. We invite you to compare them with other brands in their respective price classes. Each is guaranteed ’ give complete customer satisfaction.. .a guarantee backed by Fender’s nany years of success­ ful business relationships with music dealers ana their customers

VWRASONIC AMP—Tubes: 4—7025 8 2-12AX7, Heavy-duty. Size Height, 20" Width.24". Depth, 10 lex" dual purpose), 2—5881, Silicon Rectifiers. Speaker : v—iansing 15" Model D-130 High Fidelity Speaker. TWIN AMP—Tubes: 4-7025 4 2-12AX7 (each dual Siu: Height, 20" Width, 26"; Depth, 10'/,’. purpose), 4—5881 Silicon Rectifiers. Speakers: 2—12" CONCERT AMP—Tubes 4-7025 4 2—12AX7 (each Heavy-duty, high fidelity Size' Height, 19": Width, UI purpose), 2—5881 .Silicon Rectifiers. 4—10"Heavy 27'/,’; Depth, 10'/,’. Uy special design speakers. Size Height, 24" Width, K; Depth, 10'/,’. SUPER AMP—Tubes 4—7025 (each dual purpose) FRO AMP-Tubes: 4-7025 8 2—12AX7 (each dual 2-5881, 1—G234 Rectifier. Speakers 2—10" Heavy­ MKs Ì, 2—6881, Silicon Rectifiers. Speaker 1—15", duty. Size: Height, 18"; Width, 24". Depth, 10'/,’. New'*T0U Vinyl Cawe AND 400 PEDAL STEEL GUITARS—The Fender 1000 and 400 are the most advanced pedal guitars on the market today. Both are designed to meet the changing requirements otsteel guitarists brought about bythe advances made in the music world, and are strikingly beautiful, employing the highest quality materials tor dependable performance. Each has a 24'/* string length and offers great flexibility cf pedal tuning selection. The Fender 1000 double neck in new sunburst finish with 6 pedals provides as many as 30 usable tunings Each of the 16 strings may be sharped or flatted 1X tones. Pedals may be used singly or in combinations and in addition, the pedal tuning patterns may be partially or entirely changed at any time in only a few minutes. The Fender 400 is available with 4 to 10 peda’s and is ideal for professionals as well as students inasmuch as it provides many of the design features found on the Fender 1000. The Fender 1000 may be obtained with 9 or W pedals by special order Both models are ruggedly built to take the hardest use, are convenient to carry and can be set up or disassembled in 3 minutes. Working parts are of case- hardened steel, and parts exposea to the player s hands are heavily chrome platea. The Fender 1000 with its great variety of tunings and the Fender 400 offer the finest in pedal guitar performance and unexcelled tuning accuracy.

FENDER STRINGMASTER STEEL GUITARS-Fender Strin«fl Guitars incorporate the latest and most advanced develoomental neck steel guitar design. They feature oual counterbalanced pa eliminate hum and noise and provide wide tone range by use »ta, and mixing system enabling the player to obtain any tone from la high staccato. The pickups are adjustable so that any tone balant achieved. These instruments are fitted with adjustable bridges intonation may be adjusted any time to compensate for different« It is possible to string *ne o' the necks with special bass strin« tuning an octave lower than the ordinary steel guitar tuning. 1 j The Stringmaster is mounted on 4 telescoping legs providing a vafl ♦or sitting position o' standing position All critical parts arecafl and designed to prevent ordinary wear from occurring |

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FENDER DELUXE 6 AND 8 GUITARS—The Deluxe Steel Guitar is one of the i of the finest single-necx instruments available on today s market and is highly recom­ i TI» Ti mended for both professional and non-professional use. It incorporates many ot the same outstanding features found on Stringmaster Guitars.

It employs the counterbalanced dual pickups with mixing control, the Fender KiKTmcI« adjustable briaae for correction of intonation variations and the precision grooved 4-NECK nut of case-hardened steel assuring level strings at all times. These special l*i»-i kaft features plus excellent playing qualities and unique boay design combine to make the Deluxe model guitar outstanding among present day instruments. The ) oi duai ci Deluxe 6 and 8 Guitars are mounted on 3 telescoping legs for variable instrument p Tamoto c. height and playing position. RM anpl ■»own a pto Tromo

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DELUXE B NECK X5 DELUXE SET—The Studio Deluxe Set represents the finest FENDER DUO-SONIC THREE-QUARTER SIZE N market today The Stadia Guitar provides these outstanding GUITAR—This is an outstanding addition to Njustable bridge with swing-tvpe bridge cover, fully adjustable Fender Fine Electric Instruments. R is especially ekup hardened steel bridge and precision grooved nut, top- designed for adult and young musicians with small hands, featuring Fender fast-action neck recossed one-piece pater* head and three chromed inset leg with adjustable truss rod, two adjustable wide I chromed legs provided are adjustable to varying playing heights range pickups and three-position pickup selector igned Amp supplied with this set has the switch. Two-way adjustable bridges assure per ^nourt controls; volume tone, spe> d and intensity and plot feet intonation and comfortable playing action oetor features a heavy-duty 10* speaker and produces 5 watts ipowe*. The Studio Guitar case has a separate leg compartment NEW AMPLIFIER—The newly witn the same durable material ueed on the amplifier to make designed Deluxe is outstanding .n its price class and incorporates the following features: Two channels; normal and tremolo, front-mount panel with two volume controls, twe tone controls, speed and intensity controls for tremolo and jeweled pilot light. The back panel includes: /round switch, AC on off switch, fuse holder speaker jack, extension speaker jack, jack for remote tremolo control pedal supplied with ampli­ fier. A 12* heavy-duty speaker is featured on the Deluxe imp. This amp is an exceptional per­ former in its price rang« and represents one of the finest values available. Size: Height 17X*. Width 21* Depth 9*. THREE QUARTER SIZE GUITAR—The Musicmaster Guitar incor­ porates many outstanding features to make it the favorite in the low-price field. It is beautifully 1er StringnM finished and features the comfortable, tast-action relopmenttfl Fender neck with adjustable truss roa and modern aianced picliJ head design. Adjustable bridge affords variable e by use of a ■ string height and length for playing ease and tone from loJ perfect intonation Ideal for students and adults ly rone balance with small hands le bridges ing ' -itsM| FENDER VIBROLUX AMP—The newly designed Vibrolux Amp features a fine Vibrato circuit assuring outstanding amplification qualities and r ’°' ® performance characteristics. The circuit incor ; i.ariM porates the latest control and audio features to :■ 's -re asfl make it the finest amplifier of its type in its price range A 10* heavy-duty speaker is used in this amolifier Front-panel controls include separate volume treble and bass controls for each channel plus speed and intensity controls functionin j for both The back panel includes ground, fuse­ holder, on-off switch, speaker jack extension speaker jack ana lack for Vibrato foot control

NBTMMOLUX AMP—The new STUDENT SET -Fender has done it again with the Champ Student Set —it is cne of the finest low priced guitar and amplifier combinations MTrsmolu« Amplifier combines the on the musical market. The Champ Guitar has a solid hardwood body beauti­ Ml of the "piggy-back” design with fully finished md distinctively des-oned. It has a replaceable fretboard and Ims The Tremolux produces superb detachable cord and tone and volume controls. It features both the Adjustable rNosmplificat c -> with ample volume bridge and high fidelity pickup. The Champ Amp is sturdily constructed of the r.•ku0lO1 and microphone through finest cabinet design Circuit provides extremely pleasing reproduction. Speaker is a fine quality permanent magnet type. It has two instrument inputs, volume MHTonclowd speaker. This custom control, jeweled pilot light and extractor-type fuse holder. The amplifier covering ^NMksr is mounted in the Fender is striped airplane lu-gage linen which is both durable and washable iMtn baffle. Incorporated in the

kn&iai channels, Bright and Nor- Every musician will readily appreciate th« ■Tamoto circuit function)ng for each. TR IM numerous advantages offered by the remarkabk M or amplifier portion may be top- TR 105 Transmitter and Receiver. It eliminates thi PMwn. or may be used as a depa­ Neid instrument cord, allowing c impiété f'eedom o ll* Tramolux is equippea with the movement for the performer on the bandstand •®r"Titt-back legs which enables Available for all electric guitars electric basse: fb roach the farthest point in the and amplified accordions, it transmits a distortion

P* « which it is being played The free signal at ranges to sixty feet nd can be use« with your present amplifier Light in weight (five I v constructed for hardest profos ounce transmitter, transistorized circuit), it pro ■ » is made of three-quarter inch vides 20 to 70,000 cps. transmission. Tone ant ►iW comer« and covered in new. volume changes on your instrument are transmittoc Ft «ny* ‘Tolex Comparison will with f'dehty instantaneously. The highly sensitive Mmki> to be one of the finest receiver with 20 to 20 000 cps response is ruggedl •Io lowor price range. built highly portabH Professional musicians whe have field-tested the TR 106 acclaim its d« penda bility, distortion-free signal, simplicity of use, anc 'fach duai purpose). 2 BQt> the complete freedom it allows the performa- through elimination of the cord. It is an accessory Height r; Width ST, every working musician will want in order to '-btair or Unit, Height ■ 17%', the playing and performance advantages ths TR 105 offers ENDER TONE AND VOLUME FOOT PEDAL CONTROL - Fender s new ton* and volum* foot edal 14 on« which e very guitarist wMI appreciate It featured an extremely quiet mechanical operation jrtone and volume change.« and is designed for comfort and convenience. The controls and all parts re of the highest quality. This unit will take the hardest professional use and e.ery piayer who uses lie control will find it to be a j -eat improvemen4, and one which suits every playing need. ENDER FOOT PEDAL VOLUME CONTROL—Musicians seeking a foot pedal control for volume nly will find this Fender model outstanding amor,, all others. It is comfortable to use in either stand -ig or sitting position. The fact it is so flat affords the piayer greater playing comfort. Its high quality omponents and rugaed construction have made it the cho.ce of lead.ng musicians throughout the vortd.

PEDAL VOLUME CONTROL

AMP COVERS—These water proof, teat and« resistant Fender Amplifier covers afford protected amplifier and are extremely serviceable. They area, gray brown covert cloth, lined with sort flannel Midi with a plastic binding. A neatly fitted cover is art each Fender Amplifier... Prevents damage to then cabinet...keeps out dust for Electric and Acoustic Spanish

Guitars. Electric Hawaiian Guitars, FENDER CASES—Fender cases are made of tel Electric Bass, Electric Mandolin and materials and covered with rich, scuft and abraaioni the Classic Guitar ant attractive fabrics Case interiors are fitted topi the instrument at ail times and lined with beautiful ano For many years the Fender Company has con­ tured plush lining Where possible, suitable pockri tinually experimented with every conceivable proviaea to hoia strings and accessories. Casen kind of electric, non-electric and nylon strings bound with leather and aoubie stitched. Handla&poi that would provide guitarists the finest strings metal hinges, locks and other hardware are sa in toaay’s musical market mounted and will live long satisfactory service. F cases are recognized ‘or their durability and te MIN Today, Fender offers a complete selection of the stand up under hard use finest strings, Doth electric and non-electric fretted instruments strings which offer: FENDER EXTENSION SPEAKER 12* AND 15'MO —Fender Extension Soeakers are ideal for lea Meri requiring more even sound distrioution. Theses« Perfect Balance for can be plugged into the extension speaker jack I evenness of tone amplifier. The rugged cabinets feature three-quarte Controlled Diameters solid wood construction with lock-joint corners,« for perfect intonation with textured vinyl “Tolex ’ Tightly-applied Fender Extension Speakers employ heavy duty 1!*i speakers. One ot these units will be found to be a Windings preventing aia where Greater sound coverage is required. loss of tone Lasting resistance to FENDER PLASTI-LEATHER BAGS—These? stretch and pull COW leather padded bags feature extreme portability aw quest Superior magnetic venience. The plastic leather is a durable product« qualities fcr string padding in these bags affords satisfactory protect almost any eventuality. They feature two fuN‘ tones that remain zippers two large pockets to accommodate art brilliant and alive and a strong carrying handle positioned to brt throughout string life instrument. These plasti-leather bags are availed Fende' Electric Spanish Guitars and the Fender ft

VISIT OUR STORE TO SEE AND COMPARE THE FENDER LINE OF FINE ELECTRIC INSTRUMENTS OTHER FINE PRODUCTS AVAILABLE ‘noth REGAL GUITARS AJbei ELECTRO-VOICE MICROPHONES AND STAM DE ARMOND PICKUPS A CONTROLS . BLACK RAJA & NICK MANOLOFF STEELS FENDER-D'ANDREA-NATIONAL • RECORDS • JAZZ RECORD BUYERS GUIDE • BLINDFOLD TEST • CAUGHT IN THE ACT

lacerdi are reviewed by Don DeMicheal, Gilbert M Erskine, Leonard G. Feather, Ira Gitler, Barbara Gardner, Brlph J. Gleason, Don Henahan, frank Kofsky, Bill Mathieu. Marshall Stearns, John A. Tynan, Pete Welding, and John S Wilson Reviews are initialed by the writers. Ratings are: A A A A A excellent, A A A A very good, A A * good, * A fair, A poor.

contains the extra piece, and in view of is spotted with weak and ineffectual blow­ CLASSICS the fact that an orchestral transcription ing. His performance on Charmaine is by Arbos does exist and is one of the one example. Here he is in perfect har­ most popular concert pieces extant, it is mony with his colleagues, for the tune is Beethoven/Monteux BEETHOVEN SYMPHONIES NOS. 1 AND too bad that Morel’s complete set omits riddled with clichés employed by Mitchell, I—RCA Victor LM-2491 the number. Cobb, and Cooper. Pertonnel: Vienna Philharm onio Oreheatra, «aadactcd by Pierre Monteux. Morel’s Iberia is. nevertheless, a first­ Cobb’s Mob moves very well. Duvivier Rating- A W # W A rate reading and can be recommended is Strength Personified, and Cooper turns f, tear and iu Like the Monteux release a few months with only minor reservations, particularly in a fine job here. Although it is difficult ♦ord protector ago in which Brahms and Haydn were since it is the first stereo version of major to think of any group that, al one time or ble. They »en dealt with in his warmest and most author­ proportions. another, has not used the basic riff heard ett fiatine1 ano: itative fashion, this disc represents .mother The Victor disc is appropriately full in Lets Split, this group docs the riff jus­ I cover is avene “best buy.” The Vienna Philharmonic is bodied and splashy in sound, though there tice, and it swings all the way. image to the su at its considerable best here, and so is is an excess of bass, evidently from posi­ A surprising highlight of the album for K6-year-old Papa tioning drums too close to microphones me was Ghost. The big, boastful tenor Of the currently available pairings of Despite straightforward rhythmic tone that Cobb has consistently shoved these often-paired symphonies, only Fric- style that misses some subtle details of down our throats becomes tender and al­ re made of the I ny and Krips are in the running with the score, the present Iberia is preferable most shy. His performance is so convinc­ ft and abrasior' this one. The vote from this precinct— tn most respects to the old Ormandy set ing that one must forgive the bits of corn in mono. For those who do not require that creep into the tune toward the end s are fitted It based on rhythmic impulse, tempo nu­ the entire Iberia. Reiner and the Chicago­ Heart was lost on me. It sounded like d with beaut' ances, proportion, and youthful virility— goes to the elder statesman Victor’s sound ans still offer the most exciting excerpts. that one last request for the visiting tour­ suitable pod" (D.H.) ists. There is a sluggish, clumsy opening sories Casew fully matches the interpretation in quality. (D.H.) in Dusk that eventually is overcome, and led. Handles.* the tune achieves a pulsating groove. aroware are m K nils in« /Budapest JAZZ All in all, this is a good set because, ictory service ■ BRAHMS CLARINET QUINTET IN B after all, is a good jazz mu- MINOR—Columbia ML-5626 and MS-6226 rability and at Pmonneh Budapeat String Quartet David sician, etc. Oppeabeim clarinet Arnett Cobb Raitng: * * * SMOOTH SAILING— Prestige 7184: Char- Duke Ellington maint; Cobb’s Mob; I Don't Sin! u Giml of a PIANO IN THE BACKGROUND-Colombia If the Fine Arts/Reginald Kell version Chant* with lea, Lrt't Split; A/aci Around 1546: Happy Gu l.urky Loi al; What Aw I Hara 12 AND 15' W of the Brahms Quintet, issued last year in Dush; Bluts in My Hrart. Personnel Cobb, •e ideal for lea •tereo did not outpoint it, this disc could C ooper, trombone; Au*tin Mitehell, organ: Georg« iution. These » hr admitted to anyone’s library. But there Duvivier, ba**; O*ie John*on, drum*. "A ” T ruin. are just enough flaws in the solo part and Rating: * ★ ♦ Personnel: Ray Nance. Willie Cook, Andre* n speaker at* Meringito, Eddy Mullin*, Gerald Wilton, trum­ rough spots in the ensemble work to rule Cobb is a good jazz musician. He has pet* Lawrence Brown, Booty ture three-quef’ Wood. Juan Tizol, trombone«: Johnny Hodge«, ii into second place. been a good jazz musician for years -md -joint corners, c Harry Carney, Paul Gon*alve*, . Two quite different conceptions of the years and years. In all probability, he Ru**ell Procop«, reed*; Ellington, piano; Aaron quintet are presented in the Kell and will continue to be a good jazz musician. Bell, ban; Sam Woodyard, drum*. Rating: A A A A y neavy duty I?: Oppenheim versions, however, and they And so? The premise on which this collection is be found to bea nay determine which disc one prefers. Unfortunately, I can supply no “and.” Kell, on Concert-Disc, is well to the Neither can I define that elusive minus based is that Ellington, who frequently is required. fore, as if soloist in a concerto at times, that has kept Cobb outside the fine edge does not play piano at all during his while Oppenheim merges modestly into of international recognition as one of the band’s recording sessions (there are times when he is in the control booth), is heard JAGS—These the ensemble. Chacun a son Brahms, of tenor men most often thought of in quick course. The Budapest/Oppenheim way un­ recall. at the piano on each of these pieces- -not me po'tability H questionably represents concert-hall sound At any rate, this album is merely a re­ just in the background, as the title im­ arable product,M with greater fidelity, but for this reviewer flection of this entire pattern. Once I plies, but in the foreground at the begin­ tistactory profeti fie clarinet ought to take more than an have listened, I probably shall file it ning and end of each tune and sometimes -ature two fu I obbligato part in the Brahms Quintet. away and promptly forget that it was in the middle. And the Duke has taken ocomodate accesi (D.H.) ever made. And it is a good album, as the occasion to resurrect some of the valu­ sitioned to bab^ albums go these days. able properties in his library. ,ags are avaiust»-1' it Ravel/ Albenii In the main, the music sounds like a Both circumstances hold out much ALBE NIZ Ibariu (completa) and RAVEL well-organized night-club set. There is no promise. Ellington himself lives up to all ind the Fendt'S "i •** SOatoolo- RCA Victor I M-6094. earth-shaking creativity, but what hap­ expectations, for this piano player is -in aIZu*?. Ì Conservatoire Orebcatra. ton- •R«« by Jean Morel. pens—happens. The rhythm section stays endless source of delightfully swinging Rating: * * > * out of the way, supports and complements quirks, shifts, and angular forays. Tnc 12 “impressions” that make up the the soloists with familiarity. The horns But the new view of some familiar ’wr books of Iberia proper are included build logical, conventional lines, some­ Ellington pieces is, at times, something this disc but not Navarra, which un- times quite bland but usually controlled else again. One of the burdens that he VAILABLE: wibirJiy wa, to have been the start of and facile. has to carry is his past. Every rational “Wher book but was left incomplete at Cobb, Johnson, and Duvivier turn in Ellington fan knows how well the Elling­ Albeniz’ death. the most consistent performances, as is ton band has played certain things in the MES AND SW Alicia Del arrocha’s admirable record- to be expected. Mitchell seems to belong past and is equally aware when later per­ ■l of the piano originals for Columbia formances miss those past peaks If this DNTROLS to another league of music. Cooper’s work July 20, 1961 • 41 JLOFF STEELS

Al were all new material, one might be in­ of the dwindling group ot clanneUsts who best here on his own charming tune, clined to accept these without qualification play with warm, personal authority Little Karin) has been fairly well estab­ as extremely good big-band performances (J.S.W.) lished for some time. What is relatively (and let it be said right now that, in new in this set is what appears to be some resolution of the grappling Golson hm today’s big-band doldrums, no other big TAKE A NUMBER FROM 1 TO 10— Argo band can even approach what is to be 681 You're My Thrill (Golson, tenor saxo­ been going through to find a proper ex­ phone); My Heart Belangt to Daddy (odd Tommy pression of himself at fast tempos. He found on this disc). Williams. bass); The Bett Thing for Yon It Mt The Ellington piano, as noted, and the (sdd Albert Hesth, drums); Im,rom,tune (sdd appears to have cleared away the stream­ saxophones are all that could be desired Cedsr Walton, piano); Little Kann (add Freddie ing runs that he contended with for quite Hubbard, trumpet); Stria, It (sdd Curtis Fuller. But there are distracting flaws. The most tr»mbone) I Fait in Love too Entity (sdd Sahib a while and now has a lean attack at up exasperating is Woodyard’s ponderously Shihab, baritone saxophone) Oat of Thit World tempos that is attractively propulsive and metronomic drumming, which is empha­ < Nick Travis, trumpet; Bill Th w trombone; is much more to the point than his earlier . Golson Hsl McKusick, Will sized by a miserable sound balance that tenor saxophones; Sol Schlinger, baritone saxo- work was. phone ; basa: Heath, drums); The enables him to cover some of Ellington's Touch (add , trompet), Tim* (add Although the basis of this collection kno’ fine solo piano (particularly on What Am seems gimmicky, it actually works out ai hon. I Here For?) and even to bury the entire a group of well-developed performances reed section And when he is not drowning As the personnels above indicate, this that are given more variety than they sayt out other elements of the band. Woodyard is a showpiece for Golson in which he might otherwise have by the constant too.' establishes such a stodgy rhythmic pulse starts off playing an unaccompanied solo changes in Golson’s accompaniment that it is a miracle that this band can and adds an instrument on each track (J.S.W.) swing at all. He has, in fact, become as until finally he is working with a 10-piece Will group. big a drag on the Ellington band .is Sonny Benny Green jazz It is a format that enables Golson to Payne was for so long on the Basie band. HORNFUL OF SOUL—Bethlehem 6054. Se» tu p In addition, the balance on some tracks show his considerable talents as a tenor «•Uim«; Groove Oof; Lmltti-ito; DilhUi «4 saxophonist in carefully calculated set­ DMlit’; My Foolith Heart; IHiuu: Catuaii imp« covers the trumpets with a muffled, dis­ bit Dee. tant quality as though they were stationed tings. There is a good deal of variety in Prnonnel- Greca, trombone; Lern Devis, aha ■nyt a block away in an old sewer pipe. his playing, variety that he can even ex­ aaxophone; Jimmy Forrest tenor saxophunr, Me Waldron, piano. 01 Skip Hall, or

Davit ail* anything different. Obviously he can. for this is a young lady named aphoM; Me Bull RudMr M he has been proving consistently Shirley Scott Starting out as a on ii powerful series of Prestige member of the Eddie “Lockjaw" Davis group, she quickly became a albums. He plays straightforward, ppearanca moving tenor as he always did, but -tar in her own right, and today she idest faci» PRLP 7194 is undisputedly a member of the latent that sow that the gimmicks have been inner circle of jazz organists Her removed. Willis stands revealed as new album. Shirley'» Sounds, is an important modem musician Album titles are not usually given an excellent reason why. Those who remember him as “Gut> >r” remue, to understatement, but we feel that period Jackson will find him playing better than ever. Those who have to call Etta Jones’ new album SHIRLEYS never heard him are in for a rare represents the SOUNDS uhirlrtf wirft «uprise. Hk version of Careless understatement of the year. Etta i Low is one of the most exciting first LP caused u considerable stir jazz tracks in a very long time in the music world. It was intended to he a jazz vocal set, and we were just as surprised and delighted as anyone when the title tune. Don’t Go To Strangers, wound up I 1583) ISJACKSÖI nn the pop charts. Success has affected Etta in the best possible SHIRLEY SCOTT way. She is more relaxed and more PRLP 7195 i Street assured and her new album reflects OTHER SHIRLEY SCOTT that relaxation and assurance ALBUMS ON PRESTIGE What has resulted, we think, is the 7143—GREAT SCOTT! 7155—“SCOTTIE” best jazz vocal album of the year. 7163—SCOTTIE PLAYS THE WILLIS JACKSON DUKE PRLP 7196 7173—SOUL SEARCHING OTHER ETTA JONES ALBUMS ON 7182—MUCHO. MUCHO OTHER WILLIS JACKSON PRESTIGE UBL'MS ON PRESTIGE SHIRLEY SCOTT ALB VMS 7162—PLEASE MR JACKSON ON PRESTIGE MOODSVILLE MV 4—EDDIE "LOCKJAW’ 7172—COOL 'GATOR 7186—DON’T GO TO DAVIS with SHIRLEY SCOTT 7183—BLUE GATOR STRANGERS MV 5—SHIRLEY SCOTT TRIO inguard

Send for Free Catalogue to PRESTIGE RECORDS. INC. 203 SO. WASHINGTON AVE. BERGENFIELD. N.J. could be as successful popularly as regardless of age, should be able to appre­ As the liner notes state, the title of the admirable musically. ciate the musical qualities inherent here. album is tongue in cheek. The music u All his suppleness and warmth are It may be Hodges' album (and. for the first-class, small-band Ellingtonia, with audible again here. The three tracks with most part, he sounds fine, especially in a other elements spicing the sauce. (LG.) Hall on organ—Summertime; Heart, and beautiful, languorous way on Strayhorn's Indiana—are especially effective. The Three and Six), but the outstanding solo­ group sound is a pleasant variation on the ist, among many good ones, is Webster. J J. INC.—Columbia 1606: He is mellow and warm in his inimitable Mist; I» Walked Horace; j by-now-too-familiar combination of tenor, Shatter-Bug. organ, and rhythm. Green's fours with way on the title tune; swingingly masculine Personnel: Johnson, trombone: Forrest on Indiana are energetic and ener­ on M.H.R., and tender and powerful on tenor Mxophone; , trumpet , piano: , drum*; Knin, gizing. On Foolish Heart, Green again Preacher Blues, which is a moving sub­ Harper, bitt reminds us that he can be a superlative dued blues mood, not a Gospel exercise. Rating i ♦ ♦ * * melody-milker A whole album of tracks Eldridge is soul-nourishing on Preacher, This is the Johnson group before its like this could serve as admirable mood and his solos all through the album are breakup in late 1960, and the album is on a high level. Nance doesn't get as many a remarkably well-integrated one that dis­ The vague presence of conga drums, opportunities to blow, but in M.H.R he plays a sextet that, as a working unit, always a feature of Green’s LPs, doesn’t reminds that he is a forceful soloist. His had developed not only a discipline but seem to add much but is inoffensive. muted fills on Preacher arc just right. also an esprit de groupe Waldron, reliable as ever in his solos, Brown reiterates that his is one of the The material, written and arranged by wrote Catwalk, and Babs Gonzales con­ most personal sounds in jazz. Hamilton's Johnson, had been played in various set­ tributed two of the three blues lines on the best work is a liquid offering on his own tings by the group during an eight month first side. Central Park Swing. period prior to the recording. The benefits Strayhorn, besides contributing Three arc clear: vibrant ensembles played with and Six, fulfills his supporting role at the precision and exciting solos brimming with Johnny Hodge» piano very well. Woode is good, and the kind of confidence that familiarity sess NOT SO DUKISH—Vene 6S355 M.H R ; ir.iUity Babe : Three and Sit; Not So Dnkitk; Woodyard's drumming is much more re­ brings. Central I ark Sating; I'rnciir Rlaet; Jeep Boanred laxed in the small-band context than it is Johnson’s playing represents the best of Baek; Tke Lati Time I Saw Parit. in the full Ellington band this foremost trombone virtuoso His ar Personnel: Hodges, ulto saxophone: Ben Web­ ster, tenor ssxoph<-ne; Roy Eldridge, Rsy Nsnce. Hodges, the master stylist, is still able ranging is highly skillful, bringing out trumpets; Jimmy Hsmilton. clarinet ; Lawrence to purvey sweetness without getting sticky. rich colors of every shade from the sextet Brown, trombane; Billy Strayhorn, piano; , bass; Sam Woodyard, drums. Preacher, M.H.R.. and Dukish exhibit his instrumentation. The compositions them­ Rating: * ♦ * H stronger emotions. selves. even when they are not up to hi* The jazz language of the moment seems Broadway Babe, a Hodges-Mercer El­ most creative, are helped by the stnictuni to speak directly to its immediate audience, lington collaboi.ition, is a happy piece of he gives them through the atrangemcah and perhaps it is too much to expect to­ material, but the last two selections. Jeep In Minor Mist and Aquarius, compori- day’s average 18-year-old jazz fan to get Bounced Back, a folksy kind of number, tion and are best integrated, with the music of this Ellington splinter and Paris, a tune 1 don’t care for at any and the thematic and harmonic conteai group (plus ringer Eldridge). But I’m tempo (especially this one), drag down make them the outstanding pieces. talking about the fan. The real listener, the rating. The first has two expressive, finely

MEETIN’ HERE CURTIS AMY & PAUL BRYANT J Pacific Jazz Records PJ 25 & STEREO 25 - The ballad style of LES McCANN PJ 26 & STEREO 26 — With the release of "The Blues Presenting a fresh and equally exciting side of this major Message" last year two new stars were born Here AM> artist's musical personality DJANGO. STELLA BY STAR & BRYANT are re united for six performances EARLY IN LIGHT LITTLE GIRL BLUE. ON GREEN DOLPHIN STREET THE MORNING IF I WERE A BELL ONE MORE HAM HOCh I LL TAKE ROMANCE. PRETTY LADY DORENE DON T CRY PLEASE JUST FRIENDS ANGEL EYES. MEETIN HERE

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DOWN BEAT : of the nusic * », with (LG.) RIVERSIDE RECORDS i; Minar A quarin¡ proudly announces Arti«

fore its a truly distinguished group of Ibum ■ that dit- ng unit, line but new albums... nged by ious tet- We usually feel a sense of pride and accomplishment in the jazz produced at Riverside, but we can­ it-month not recall any previous group of releases in our history to equal the total impact, variety and benefits /ed with importance of these, ranging (in size) from two remarkable large orchestras to two brilliant trio ling with miliarity sessions:

: best of His ar- png out he sextet is then- ip to has tructura igetnenu. compoai- ■tegrated, • contest e, finely Snkm>1 h as the \\ md AFRICAN WALTZ BI I I MITCHELL CANNONBALL ADDERLEY WITH STRINGS AND BRASS AND HIS ORCHESTRA

AMT Mriean Watte: CANNONBALL ADDERLEY Orchestra—The compelling. surg- Smooth os the Wind' —The warmest and most beautiful Y IN •S bwstingly-big sound that excited everyone on the hit single of “African trumpet sound of our times belongs to Blue Mitchell! A bold doim, but 1OCF J****” is now an album full of earthy, incredibly powerful jan—with Cannon- fully substantiated on this memorable LP, whoso firm end deep-textured M't soaring alto leading an IS-man all-star orchestra (arrangements mostly scores for o large string end bras* ensemble—by the incomponible Todd 1ERE by Ernie Wilkins), (RLP 377; Stereo VSH) Dameron ond Benny Golson provide rich settings for Blue’s wonderfully lyricel mastery. wrought solos by the trombonist, separated readers, one wonders, are aware of ths by an effective stint by Jordan. The second youthful veteran? How many who are ng LUSH LIFE features brooding, thoughtful Johnson im­ will be curious enough to investigate, these provising after a stately theme by trom­ sides? JOHN COLTRANE bone and trumpet that is underlined by Those who do will find a mature, coa­ counierfigures from tenor and piano. fident style that grew as a contemporary Aquarius is in 12/8 meter. of Dizzy Gillespie’s but has an occasional Another time signature explored is 6/4, touch of Miles Davis and. if you icmen* on Mohawk, a kind of American Indian ber, Freddie Webster. He is also a com. “soul” number. Everyone works out on poser of unrecognized merit, as can be this one. Heath is expert at swinging in discerned in the title tune and in the this time signature, but monotony does pretty, muted Shep Talk. ivsH creep in toward the end of Walton’s solo. Most the tracks feature simply McGhee UFE In Walked Horace is a tribute to Silver and the rhythm section, with some agree­ and sounds very much like something able moments from Flanagan. The fou Horace’s group would play. Hubbard has four-horn numbers don’t take full .idvan- a fiery first solo, and Jordan swings easily tagc of the instrumentation: the arrange, in his Rollins-inspired manner Johnson men) on Groovin' High is weak, and the and Heath have an interesting exchange of Flyin' Colors become washed out dunty thoughts that begins with eight-bar phrases the somewhat colorless tenor work. Not and get down to “ones." Walton, in a short enough is heard from Green and \daim bit, sounds more like Benny Golson’s Park Avenue is the best than Silver. of the four septet items. Green, Alex­ ★★★★★—Down Beat Fatback is more specifically Silver than ander. and Adams appear also on Dut) the generalized In Walked Horace. In fact, Tom McIntosh’s tune. Malice, is an OU- it reminds me strongly of Silver's Soulville, standing quartet track. “ . . . I consider Coltrane the out­ though it is not as good The strongly This is recommended to anyone whoa standing new artist to gain promi­ assertive playing by Johnson is, however, library has little or no representation d this still-valuable, still-important tnim nence during the last half-decade .. - and transcends the theme Walton’s best work of the album is his peter. (L.G.F.) one of the unmistakable pinnacles opening solo on the minor-key, up-tempo Dave McKenna-Hal Overton of modern jazz on record . . . For Shutter-Bug, a title that alludes to John­ DUAL PIANO JAZZ—Bethlehem 6049: son’s interest in photography This number in' o«t of Misckirf Now; Monk'» Moot; Diiiy sheer beauty of approach and exe­ Atmospkara; Bunblei, Bantlas. and inL: lül lies between the varying degrees of funk My Dear; Dirintlh; Hi-Fly. cution, his work has rarely been m Mohawk, Fatback. and Horace and the Personnel: McKenna, Overton pianos; Bui lyric introspection of Mist ¿nd Aquarius. May, bass; Jerry Segal, drums. equalled.” Rating: * * W —Frank Kofsky, Down Beat It is an effective balance wheel for the whole set All the soloists stretch out for Although I’ve always been a little teen telling chorouses. of harmonicas and no great fan of the bagpipes, my real unfavorite instrument ‘One of his finest recordings.” This album demonstrates Johnson’s tal­ ents on several levels. For many reasons, is two pianos. Nevertheless it was possible —Cash Box J J. Inc. is an important issue. (LG.) to approach these sides without prejudice, since McKenna and Overton have both distinguished themselves individually, tbi “This is one of the best albums that THE PROPER TIME Contemporary J587: latter previously under the name of H»D Coltrane has made to date. He is a Drum Solo; Binai Tkeme from ‘Tke Pnftt Overton. Time’; Bine Stuirr Piano Jota, Wkeelt; The The problem with this instrumentation, different Coltrane here, a lyrical Proper Time; Him Pool; Doreen’i Binai; and warm performer who expresses Exotic Moodt; H arm Watar; Paie; Fratami*- of course, is that of developing the greil int; Fort Binai, Pion, Trio est possible empathy In a Dixieland band himself with feeling that cuts Personnel: Joe Gordon. Irumpet; Riehie Kamu­ ca ténor saxophone Kum Freeman piano; Victor the polyphony by the front line produca through on almost every tune. ‘Lush F-eldman, vibes; Monts Budwi|, base; Manne, at most three or four notes at any gives Life* is almost a classic perform­ moment. Since two-piano polyphony n Manne’s score for the film The Proper capable of producing 20, there is the addi­ ance . ..” tional necessity for great discretion on the —Billboard Time follows the trail blazed by Miles Davis in scoring the French film Ascen­ part of whoever is not playing the laJ seur pour Techafaud in that it was im­ role. “This is his latest effort, and it’s a provised rather than written. McKenna and Overton seemingly masterpiece.” It has resulted in some good moments, worked this out reasonably well, since —Dick Levy particularly several solos in which the there arc few noticeable clashes; but development is shared by Kamuca and there are also none of those magic mo­ ments of inspired teamwork, of mutuul OTHER COLTRANE ALBUMS ON Gordon without resort to banal trading PRESTIGE of fours But, except for Blue Stutter and stimulation, that would justify the jux­ the blues theme that is used as an under­ taposition of two keyboards, as happened 7043—TWO TENORS score for the main title, these passing in the cases of Duke Ellington--My 7105--JOHN COLTRANE wisps of mood setting are of relatively Strayhorn and Albert Ammons-Pete John­ little interest by themselves. (JS W.) son. There are also missed opportunities; 7123—TRANEING IN for example, some use could have beefl made in two-piano terms of the iwo-ba: 7131— WHEELIN’ AND DEALIN’ Howard McGhee 7142—SOULTRANE - -Bethlehem 6055: Dotty Bina; open spots in the melody of Hi-Fly. Soni of Malic; I Coutilriti oe Yon; Sleep For all its uncventfulness, this is • • H(h 7158—UATTIN’ with COLTRANE Talk; lark Ainu Petite; Flyin' Calory; Witk technically competent, expertly playo- QUINICHETTE Molice Towerii Nou; Gn-iii’ Hiek; Cotlift Fw n tor Sala album, with fine support by Segal aw ■Ml II Personnel: McGhee, trumpet; Tommy Flenetan, May. It’s unfortunate that monaural discs «Mi piano; , trombone; Rolend Alexan­ Send lor Free Catalogues der, tenor -.r-xophone. flute; Pepper Adam* bari­ were sent to reviewers A stereo copy, tone uxophone; Ron Certer, han. Walter Bolden, and an indication of who is on which PRESTIGE RECORDS. INC channel, almost certainly would h>« 203 So Washington Avenue Some years have elapsed since McGhee given the results a little more clarity aw Bergenfield. New Jersey was in the No I trumpet slot in the Down distinction. _ MM) Beat Readers Poll. How many present The good-humored, easily swing"! DOWN FEAT re of this ho are not ■gat«, these iture, con* RIVERSIDE RECORDS temporary occasional >u temem- so a com­ proudly announces as can h nd in the y McGhee >me agree* Ihe four Full Tvaa- e - «range- k, and the out during work. Na nd Adam«, is the beat een, Alev on Dusty, is an on. one who« .‘ntation of ant tru< (I..G.F.)

Hon '049: t»*, Wuod; Ditte StMtf pianos,' Ed THE MONTGOMERY BROTHER!

little leery fan of die instrunot ¿as possible I prejudice, have both dually, the ne of Hah

> mentation, ; the grew­ eland band ic r 'oducr .my pvei Hlemi Oldf Soul lyphony ii VICTOR FELDMAN is the addi­ PIANO AND VIBES tion on the ig the taJ

‘..emingly well, since ashes; but nagic nw of mutual y the jux- s happened । ng ton-Bill) -Pete John- iportunities; have been ■ie two-beat ’i-Fty. this i* • • - • ———. waeewavo wrose a caw---- rrrvoo wsw viotowiy^ «WVWVTVy as ««TtVSiy pianist-composer presents three soul-drenchad originals and adds his deft tly play»’ a lightning-quitk 'blower' are in for a stimulating and provocative surprise personal touch to five standard*. (RLP M3; Stereo 3333) Segal Md ■ thoughtful mature (but still swinging!) Griffin, creating rich Hey Baby!: THE JAZZ BROTHERS—Young in year», but definitely of age In ■fi thoroughly unusual sound-blends with two bosses, drums, and Julius jass feeling and imagination—that * fhe only way to describe the fre*h, taural disc* ■wHn»’ French hom, (RLP 3M; Steren 93M)‘ high-spirited music of pienist Gap end trumpeter Chuck Mengioao and their lerco cop' «¡Mve Yard: THE MONTGOMERY BROTHERS—Th» incredible guitarist mueicol blood-brothers (RLP 371; Stereo 9371; on which Merry Oide Sou’ VICTOR FELDMAN—One of Ihe earthiest end moat stir­ ' gs >«w»ee» luaaaj, «■aw iamiiy maagi sni> an uniorgviiaviv OCCBSKH1 ring piano and vibes ertisls you've ever heard, British-bom, West Coest- ould ha*e a ecllection of deep-grooved deeply moving performances. clarity Mi besod Feldman iwhn created a sensation with Cannunball Adderley’s quintal) _ (RLP 332; Stereo NUi offers vibranl proof that ''soul" is an international and nationwide phe Sy.00“ Trio-On his first t-in album since fhe nmnermn. (RLP 3M; Stereo 93M) • v ingifig ■■•1» ecclaimad “This Hera Is Bobby Timmons'' (RLP 317). the - Jone*, baaa; , • A DATE WITH THE MASTERSOUNDS” drums. throughout was impeccable. And Hum­ phries is fast developing into a sensitive THE “Movin’” is the key word here. This thoroughly dependable drummer, despite a MASTERSOUNDS set, by virtue of the assembled gentle­ certain mechanistic tendency. men — groovers all — never strays from Generally, though, there is not enough basics. The over-all motif is simplicity — variety. There is only one really up-tempo in blowing, in the choice of lines, and number, / Love You. and the slower num­ in the neat, unpretentious but very vital bers tend to become wearying after a pulse laid down by the Feldman-Jones- while. (P.W) Hayes combination.

This is Montgomery’s session, and the Joe Puniu opening solos fall to him. A compelling LIKE TWEET- Columbia 1618: Flight guitarist, he motivates a drive unleavened ferns; Thistle Serenade; Like Tweet: Melsu Hird; Ski,,IS South; Cotton Candy CM' by essentially melodic ideas His tone is Noth i Ark, Shades of Twilight. Sturnella; tirf> solid, sure, and large, radiating self­ Eye View; Panic in Ike Birdcage. lenonnel: Puma, Barry Galbraith, gait*'’ assurance in what he wants to do He Dick Hyman, organ, piano; George Dav" switches to bass guitar on Tune-up. Sandu, ba»*; Okie lohnaon, drum*; Jerome Rich»«-” and Body. flute, piccolo, tenor aaxophone Bobby J**P* 3317 MONAURAL NO STEREO flute, tenor aaxophone; Don Elliott, nbrahar» “SHOUTS 6 BLUES” Riverside’s Orrin Keepnews, who re­ mellophonc. corded this album in Los Angeles last Rating: A A % SONNY fall, took advantage of the temporary “Birds,” says Eddie Hall, the idea man presence in town of Texas reed man Clay. who generated this album, "blow the BROWNIE Clay plays flute for the most part, rather greatest riffs ever created.” So he has usee a surprise in itself, for he is more per­ the calls of a variety of birds as the N-b suasive on ihe tenor sax. He is absent on for these pieces, which he wrote

4035: XIm- 1 aal Y": I Th' G»Un J A.M.

ALBUMS mono (timo mm NEWPORT REBELS pianist, the CANDID WORLD OF JAZZ Charles Mingus, Max Roach, Eric Dolphy, Roy nost sensu- Eldridge, Jo Jones and 10 more top jazz names recre­ >oftly coax- ate the musicians’ jazz festival at Newport—all in one . solos into indispensable album. ■‘rounded" ie tracks in tive, effort- JRZZ REUNION ium's chief e afraid of uality verj COIEMAN HAWKINS nis improvi- is his chief e luminous, a welcome ”■—yet they fter a white, i impercep- md the pret- s Pearson lo his graceful e but little

action here, cd with the itiiio Mae STRAIGHT AHEAD-ABBEY LINCOLN ito the trios JAZZ REUNION - Today's most compelling singer, with Max Roach, PEE WEE RUSSELL A COLEMAN HAWKINS work in the Eric Dolphy, Coleman Hawkins, Mal Waldron, in a An unforgettable reunion of jazz giants Pee Wee Rus­ ;an use this unique collection: BLUE MONK (1st vocal version), sell and Coleman Hawkins with Bob Brookmeyer and added con- AFRICAN LADY; Billie Holiday's LEFT ALONE. Jo Jones in what will become a jazz classic. ss; his wort And Hum- > a sensitive, ner. di'spite a BOOKER ¡ not enouffi t- h- illy up-tempc ERVIN slower num- ying after i (PWÌ THÄTSIT

UthM Candy fturn'll* ; *lf‘ [CONOIDI brailli, aorte Dovi»'«’ »me Richard’“ B«bH J«'««' liott ribrahar.

the idea m»s —PHIL WOODS i, “blow the THATS IT-BOOKER ERVIN Phil Woods’ full-length composition, is a major new he has used The hard cooking tenor sax of Booker Ervin is in top piece of jazz writing. The big band sound features form on THAT’S IT. Booker proves here that he owns Is as the b»«5 Woods, Curtis Fuller, Benny Bailey, Tommy Flana­ the most swinging of the new horns. wrote in gan, . ach selection wnUt. (fin (pu. eafoJoç. iyed on ffutc- *118 W 57th ST.« NEW YORK 18, NEW YORK and segues into a Jazz variation on priate full, throaty, blowsy style of play­ the call. ing, but nothing unexpected or untoward Once past the gimmick, these turn out occurs in the course of his overlong solos. OLD WINE to be a set of combo pieces that range Not much can happen, for he rarely gets from banal funkishness to a hauntingly too far away from the melody line—and NEW BOTTLES exotic mood piece. Melancholy Bird, when he does, it is so much pointless based on the call of the purple finch. noodling. Ida Cox I HE MOV NIN’ GROANIN’ BLUBS—Rh«. Most of these pieces are too tweet for Pianist Harris comps along assuredly in •ide 147: Moanin', Groanin' Blues; Ida tn. my taste, but that finch really has class. his best simulacrum of . He’s

It may be significant that this is the only got it down pretty well, too—it's almost Blues, Misery Blues; Blue Kentucky Blues; Hü tune on which Hyman, who did all the believable. treatin Daddy Blues; Do Lewd Do, Night md Day Blues; Fogyism. arrangements, is also listed as a com- Everything is all veiy pat. with the re­ Personnel: Miss Cox, vocala, all trucks. IrsMa poser. (J.S.W.) sult that there is nothing either excep­ 1-4: Tommi Ladnier. enroot; Jimmy O’llrym, tional or exceptionable about this album clarinet; Lovie Auatin, piano. Tracks 5. 6; II, ■ier; Jesse ( rump, organ. Tracks 7. 8: Joe vaiitk Kid Thomu- — delightful mood music, attractively cornet; Chsrlie Green trombone; Buster Ss.’.i SONNETS FROM ALGIERS—Icon Record* played. The rating is based on the profes­ elsrinel Fletcher Henderson, piano; «heil» LP-3: Pul on Your OU Gray Bonnet; Just a Hixon, banjo. Track 9: Smith; Johnny Dodds, .«. Chin H u/i with Thee; Milnebs rg Joys-Dipper- sional competence of the execution more inel Kaiser Msrshsil, drums; unknown pism mouth; I Believe ! Can Muht It by Myself; lu than anything else. There's not a surprise Trucks 10, 11: Smith; Green; Bailey; Mise les the Shade oi the old Apple Tree; I Can't Escape (P W ) tin Marshall. Track 12: Arthur Campbell, pie«»; from Yau, Ruling the Jack; S’il vous plait; Sing on either side. unknown cornet. banjo. On. Personnel: Th ornai. Paul Barnet, clarinet; Louis Nelson, trombone; Manuel Paul, Miss Cox was a capable but scarcely tenor saxophone Creole George Gueanoo. banjo; ETHNIC Joe James, piano; Sammi Penn, drama. compelling blues singer in the 1920s. She phrased well, she had a pleasantly lyri­ Rating: * W Olatunji It should be self-evident by any mode ZUNGO! — Columbia 1634: Masqat Dance; cal voice, but she did not have the com of reasoning that merely being a Negro Zunge; Ajua; Esum Baku Wo-Ye, Geleweuwe; manding presence of a Bessie Smith or a Jolly Mensah; Philistine. Ma Rainey. musician, bom and reared in the New Personnel: Babtunde Olatunji, African drum*, Orleans area in a time proximate to the vocal; , Jimmy Nottingham, Ed Bailey, The element that makes this collection trumpet« winds; Al Shackmanr of songs of special interest is the accom­ early stages of the development of jazz, guttar; Georgi Duvivier Bill Lee, hee.ee; Rudy does not per se guarantee great talent Collina, jazz drums: Monti go Joe, James Bey, paniment she receives. On six selections Means Whitley, Taiwo <>uvat, African drums; Ray the pungent cornet of Ladnier is heard; and ability But there is a segment of the Barretto, conga, timbales; Chinyelu Mulnrhuku, jazz audience that maintains that this is a Aquasibi Derby, Afuavi Derby, Oyinka Parker, four of these also have O’Bry ant’s warmly Xdunni Pearson. Adele Potter, Babelola Jones emotional clarinet Five have the singing valid premise, that it is possible to herd Pope-la Moon Christine Chapman Melvin Ed­ together any odd group in this category warde, Marlo Timmona, Ernie Trueadalc. sintere comet of Smith; four offer the big, out and get a magnificent result going trombone of Green and Baileys This album, if anything, proves again the Olatunji is an astute showman who adds pliant clannet foolishness of this kind of logic. At best, considerable color to his personal appear­ These are fascinating accompanists, and it shows form with very little substance, ances by playing in what are, presumably, it is to Miss Cox’ credit that her singing and. at worst, it is an embarrassing trav­ costumes of his native Yoruba tribe (he stands up well tn such provocative com­ esty of what jazz is. The result docs no is a Nigerian who has been in the United pany. Smith is heard behind Miss Cox credit to anyone involved in either the States for about 10 years) as he flails most of the time, playing with that sen­ playing or the production the African drums and sings. sitivity that is so essential to the accom­ The faults, from the black-face, min­ Quite a bit of this color comes through panist's art Ladnier plays at greater length, strel-like clang of the banjo and the clack­ in this recording, in which the actual both in back of the singer and in some ing drums to the nanny-goat phrasing of visual colors are replaced by the varied moving solo passages. the trumpet- are embarrassing because they tonal ones provided by brass, reeds, and Miss Cox' performances vary in the certainly were well intended. Perhaps, a vocal group. course of the disc, but she is very im­ however, they were unavoidable Nelson Olatunji and his drummers are the focal pressive on the well-known Fogyunt, on plays with minimum invention, and there point of the performance, hut for the Misery Blues, and particularly on the un­ are times in the ensembles that he lays nonethnically oriented listener the wind usual dirge in blues form. Coffin Blues. out altogether. I suppose because of his instruments provide the necessary change The recording (1924-1927) is primitive New Orleans background, Manuel Paul's of pace that keeps this from being too by modern standards. But, by the same tenor will be accepted He carries on a complete a concentration on drumming standards, the playing and singing are dis fruitless search for ideas and manages to Those pieces on which the brass and tinctly superior (J.S.W.) make more muddy the already muddied reeds have a prominent role tend to ensemble performances. convey a calypso quality, a pleasant Clarinetist Barnes is responsible for the change of rhythm and sound from the half star in the rating, and deserves, I more directly African selection. in which VOCAL think to be recorded with a group nearer variety comes from Olatunji’s solo drum superimposed on the steady rhythm of lister Hull-Eurl Scruggs his own level. (G.M.E.) FOGGY MOUNTAIN BANJO—CalnmMs1064 his associated African drummers. Ground Speed; Home Sweet Home: Sally I«».’ Stanley 1 urrentine-Three Sound» Needless to say, this is a far and stim­ Little Dari in'. Pal »1 Mine; Reuben; Cripple ulating cry from the percussion discs Creek; Lonesome Road Blues; John Henry. Fin BLUE HOUR- Blue Note 4057: Please Send Ball Mail; Sally Goodwin; Bugle Call Rog; Cun- Me Somebody to Loot. Gee, Baby, Ain't I Good routinely turned out for the stereo-sound tn Yeuf : Blue Riff; Since I Fell for You; Wil­ beeland Gap. _ ,__. Personnel: Fin« voeala guitar; Scrugg* low. Weep for Me faddists. But it is also a considerable Personnel: Turrentine. tenor (axopbone; Gem- distance from the relatively esoteric re­ other personnel unidentified. Harri*. piano. Andrew Simpkina, baa* Bill cordings of undiluted African drumming. Dowdy, drama. This LP contains 12 superb instru­ To call Olatunji's work “diluted" would mental samples of the fleet, charging I was delighted with the idea of a group place an incorrect emphasis on what he country music known as Bluegrass mu- has done. He has added, quite rationally, of young modernists performing such sic, played by the acknowledged masters seasoned and evocative chestnuts as Gee, other ingredients—West Indian and Latin ideas as well as suggestions of jazz. of the idiom. Babv, Please Send Me, and Since / Fell. Bluegrass music is a lineal dependent Yet not too much happens in the course It swings, it’s full of excitement, and mountain string-hand it has a great deal more variety than you of the old-timey of this disc. music of the late1920s------— and came into It is but another studio blowing session might expect. However, in view of the existence as a specific style shortly after —yet of a different stripe than the usual: strangeness of Olatunji’s work to U.S. World War II when Kentucky mandoline here all the tunes are of the slow, wistful ears, it would have been helpful if the Bill Monroe formed a group featuring variety known as “blues ballads.” liner notes had offered more explicit in­ Flatt. Scruggs, and fiddler Chubby Wise Turrentine comes on with the appro- formation on each selection (J.S.W.) It was this group, Bill Monroe and his 50 • DOWN BEAT LES

UES Ri L- Ida c Mam Vluts; Cafia Rlaea; Hit. ; N‘tM aad

utter Bailey, no; Charli«

I: Min Au- pbell, pi*M, ut scarcely 1920s. She »antly lyri- e the com- Smith or i s collection the accom- t selection r is heard; nt's warmly the singing e big, out- id Bailey's aanists, and her singing cative com- Miss Cox h that sen­ tile accom- ater length, id in some ary in the s very im- ogyism, on on the un- offin Blues. is primitive L the same ing are dis- (J.S.W.)

am Columbia KM: F Sally A—: Ibra; OM» I Hnq: Fin ill Rat; Caw srutp. erh instru- t. charging iegrass mu- jed masten

| decendent string-band came into lortly after mandolinist p featuring Lbby Wise- oe and hi' Bluegrass Boys, that was most influential PI IF SLEGLR IN CONCERT—Folktar. », HU9 Aflita IM R « ei_ ax _ tica in shaping the classic vocal and instru- tisú ...tone mental style that has becomc known as Uve1 Bluegrass. mot comes Instrumentally, the music is a direct nipt outgrowth of the traditional music styles Paraonncl: Scoter, soeala. haujo, gaitar. out of the southern mountain region, its two T most distinctive characteristics being its These albums display to excellent ad­ «»ni BIG... use of nonamplified instruments and the vantage two aspects of the considerable Mti employment of the five-string banjo as a talents of Seeger, foi Iwo generations uf ______j tah lead or background in all songs. But Americans the dynamic link between theta rhytl beyond this, the term refers to a specific and the vigorous traditional music of ibvc —Jimmy Hamilton, manner of playing the five-stringer, a their forebears. Clarinet, Sc sleek, flowing, supercharged three-finger The Folkways collection presents Seeger evok Duke Ellington technique pioneered by Scruggs. in the role of folk instrumentalist, u vir­ Men Orchestra Bluegrass music is a ragged, heavily tuoso of the five-string banjo, the guitar, ibou syncopated music much like New Orleans 12-string guitar, mandolin, chalil, and CHOOSES neh jazz in that it is primarily a polyphonic what have you. The greater part of the engt ensemble music replete with breaks, each selections in this exciting album is com­ Si of the string instruments having a well- posed of material composed by Seeger for He s REEDS defined role, with the whole idiom being use as film scores. “The music on thn refus pretty well circumscribed by definite con­ LP,” he has said, “is an attempt to demon musí “Man, with these ventions based in traditional hill-music strate what can be done with relatively (Nid Rico reeds you don’t Jimmy have to blow hard. styles. simple American folk instruments to pro­ by w The tone comet out It’s most exciting and highly emotional vide a programatic score closely follow­ knows if big!"(S ¿9/ , more you want —Bluegrass music has been described as ing the action on the screen.” What bt nd i that BIG “another kind of soul music,” a descrip­ has done is considerable; it is a fine dis­ tone, there ■eta tion that hits the nail on the head. If play of both technical facility and natural He is no reed like Rico. Pros choose musicianship Rico for tune quality, smooth anything, it has even more passion, con­ fure playing, and grade-strength con­ viction, and drive than most soul jazz. Throughout the course of this LP occur sistency. Every reed of the same Flatt, Scruggs, and the Foggy Mountain moments of quietly breath-taking beauty, 10 co grade number responds the same. Boys are the foremost exponents of this ingenuous and ardent lyricism, affectingly «de 1 For all clarinets and saxophones, music in the country today. There arc tranquil charm, and extraordinary inven­ word) at music dealers everywhere. groups that play with more fire: others tiveness. In are more tradition-minded than they are. The title piece, which takes up the en­ Yet this outfit has achieved a fantastic tire first side, was “written” (Seeger is u Doug ZURIGO PRODUCTS degree of subtle interaction, and their “ear” musician) to underscore a docu­ the c 819 North Highland level of musicianship is both higher and mentary film concerning a small com­ chara Hollywood 38. Californio more consistent than that ot any com­ munity in the Catskills whose inhabitants chare parable group are forced to leave their homes by con­ Th. This is earthy, spontaneous, uncom­ struction of a dam dram; plicated music rooted in U. S. folk-music Seeger is assisted on this by his younger Mie. traditions and played with driving inten­ brother, Mike, and the entire suite is 8 The ii sity and fervor. It mighi take some listen­ strikingly attractive work of real power off th ing on your part to get accustomed to and sensitivity. The other tracks are multi­ this approach, but it’s well worth the dubs with Pete Seeger taking all the parti. For effort. In stereo, it’s too much’ (P-W.) Horizontal Lines is an especially effective »PF«) Reconk shipped anywhere and whimsical piece, which recalls vividly this al Etta Jone« the dramatic usage of traditional folk tnusic mODERR music SOMETHING NICE— TAroar* a Long nd Slrffltss Night; My Hwrt Tells Me; That's All instruments in a number of the better tard 627 N. KINGSHIGHWAY There Is «0 That; Till There Has Yau; I Ouly Japanese films. who i Have Eyes for You; Maybe Youll Be There; The second album is a location record­ ST. LOUIS 8, MO., U.S.A) love Is the Thing; Almost Like Being in Love; 1 mu Easy Living; Canadian Sunset Tools Rush In. ing of a concert given at St. Pancras Town 5ÍM, ALL RECORDS REVIEWED IN DOWN BEAT Personnel: Mia, .Iones, vocal.; various com­ AVAILABLE THRU US—OUR SERVICE IS FAST hall in London on Oct 4. 1959. and only to cha bination« oi , tenor saxophone: Lem All records »hipped are factory fresh. Send for de­ Winchester, vibraharp: Wally Richardson, guitar; now made available on LP. The program tails an our bonus offer of FREE JAZZ LFt Jimmy Neeley or Richard Wyands, piano; Michael consists of a number of Pete Seeger'i least t Foreign Order» Welcome Mulia or Geoi

Wind (River­ rings (River c Iazz 22) roove Yard

(Blue Note rait of Frank MAKES EVERY NUMBER A SHOW STOPPER! al Blues ana iition (River- If yoti've ever really wanted something different—something to captivate an audience—you can have it with the new Ecco-Fonic erside 9360) FREE RECORD Band (River- ...the portable echo-reverb chamber that gives you an entirely new concept in sound. With a simple flick of a switch —your per­ HEAR THE EXCITING NEW WORLD OF ECCO-FONIC SOUND 'tely (Prestige formance will have all the true presence and full dimension that Prove to yourself Ecco- was only possible m a major recording studio with expensive Fonlc’s full dimension (Riverside sound Is e must on tho equipment. Ecco-Fonic produces an exciting stereo-echo effect stairway to star billing. Hear the depth, beauty / nds (Prestige and picks up previously lost ranges in sound Whether you sing and richness made pos- / tible with Ecco-Fonic. Get / or play an instrument, your act will take on new glamour and this amazing free demo / (Riverside record todeyl X/ excitement. You’ll love the reaction of audiences _ „ PLEASE SENO ME FREE RECORD icific Jazz 21) and you'll love the increased bookings you get ECCIIFONIC INC . SALES DIVISION tino (Capitol «hen you use the new Ecco-Fonic See it demon­ U 5757 SANTA MONIC* (IV*. IDLLYWORR II CAUFORMI* strated at your local music store or write for the "ruit (Colpi» •ree demonstration record today. NAME__ ADDRESS nd of College Ask your favorite music dealer to see and hear CITY____ .STATE. Ecco Fonic at the Music Trades Show in Chicago. n® (Riverside

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Series, - LPs discussed in a recent issue. 2. The argument that you can't ro- feather’s Assuming also that you are interested create the fresh, youthful innovatory in building a comprehensive jazz record spirit that went into the originals simply library, you have to consider the fol­ doesn't stand up. Played on a Blindfold nest lowing: Test basis, some of these new ver­ By LEONARD FEATHER 1. The original versions of many of sions have been mistaken for the orig­ inals. Many are musically equal, othen If you are the average Down Beat these 1935-50 gems are either unavail­ inferior, some superior to the old ver­ reader, it is safe to assume that when able or scattered in various LPs, a sions. But Ellington's advice (“if it the big-band jazz of Duke Ellington, couple of tracks here and a couple there. Benny Goodman, Woody Herman, and These Crown “tribute” albums, played sounds good, it is good”) is the maxim to remember. their contemporaries was at its swing- in most cases by musicians who either era peak, you were anywhere from were members of those bands or at least If you want in your library docu­ minus 5 to plus 12 years old and not a are capable of playing as if they had mentary evidence of the music created very active buyer of their recordings. been, are not only available but are far by the swing bands, the testimony fur­ This is an important factor in weighing better recorded, can be bought in stereo, nished by the Crown LPs is just as valid the value of the low-priced Crown and at bargain prices. as the old Victors or Brunswicks or Columbias. In fact, if I had never heard the originals and were confronted to­ day by the Crowns, and later by the old versions, I suspect that in many casei the latter would sound anticlimatic. This seems shocking, yet it’s a nat­ ural consequence of the maturing of jazz. The average pickup band assem­ bled for a record date, the typical radio or television staff band, even the amaz­ ing teen-aged Newport Youth Band, can offer a performance equal in con­ viction, swing, and ensemble precision TU Re to that of many of the top bands of the I. JiMMl Heme 1930s and ’40s. organ 3. Though the Crown albums scream lailti the names of the bandleaders at you in Ire n huge type (and in a couple of cases it's Jimi gf the even include their photographs) the juz-oric leaders are not present. But since the Ii ibili facts are clarified as you read the wy co smaller print, and since the over-all it warn results suffer surprisingly little from bead ar their absence, the manner in which he way their names are used is not essentially phone, a musical problem. olplayi Presumably the leaders have acqui­ s beaut esced, in the knowledge that as com­ For t the feel posers or publishers of some of the tai I tunes, they still have something to gain. (ooe oi MR. GUY MITCHELL The Crowns are all original and re­ ad, bi STAGE, SCREEN, TELEVISION, AND COLUMBIA RECORD ARTIST AND HIS GOYA GUITARS cent recordings, and are technically fully- F superior to the versions of which they are belated imitations, so the ethical 1 Mm A meeting oi the board of public opinion kth issue here is of secondary importance phon when compared with, say, that long It's 1 The best way to discover what’s beyond the enthusiastic talk about the series of historic jazz LPs issued on •to is “Goya” is to examine this fine instrument and in doing that, you’ll have plenty Folkways for which a vast number of of thoi of company. if it is. For every day, the “Goya” guitar enjoys impromptu scrutiny by that most excerpts were “borrowed” from old That influential tribunal in America, the board of public opinion. The verdict? masters that belonged to other com­ ■Ne to It’s best expressed by the fact that thousands of “Goya” guitars have already panies (with consequent loss of quality, he wa’ gone to market! . since they had to be dubbed from discs) ■»bear The most amazing success story of the musical instrument world is that and released without permission from of the triumphant “Goya.” A deluge of orders has saluted its good taste, its -with the artists or record companies. heedg peerless tone, its startling body finish. Overnight, the “Goya” has become the In general, I would recommend the bear tu fine guitar leader . . . and has created a dazzling standard which will be felt in our industry for many years to come. various toasts, tributes, and salutes as a This We are doing our very best to make your valuable and economical history course, * tutu wait short... before you become through which the more recent convert hat g Na the person who owns the “Goya.” f ‘ft-4,1 to jazz can find an accurate representa­ re GUITARS INC. tion of what was happening in jazz be­ Had doa't tl CLASSIC, FOLK, SPANISH fore Cannonball Adderley, Miles Davis, bm 10 A ELECTRIC MODELS St, New York Gty and John Coltrane, who seem to mark he iu the point at which many fans today Moth picked up the subject 56 • DOWN BEAT j can t re- innovatory nals simply a Blindfold new ver- BUNDFOLD TEST r the orig. ual. others le old ver- ce (“if it BARNEY KESSEL the maxim By LEONARD FEATHER rary docu- Barney Kessel, embarked on a happy and fruitful reorienta* tion of his career, divides his time between Hollywood studio isic created work and the leading of his own quartet. imony fur- I have had a chance to hear him with his own group, on a ust as valid record date, and in an all-star session, with André Previn, nswicks or Shelly Manne, et al. at the Manne Hole in Los Angeles. On never heard both occasions he astonished me with his unique amalgamation fronted to­ of technique, humor, taste, and, of course, funk (you didn’t r by the old think you could avoid that word, did you?). Although he has many cases continued to walk off with the Down Beal polls year after year, :limatic. his full potential as an inspired and catalytic performer has never been completely realized by the public. If it had been, it’s a nat- I he would have won the polls by a far wider margin. naturing of This was Kessel’s first Blindfold Test. The first record was and assem- included because Barney just recorded this tune with his own ypical radio group. The Marvin Jenkins solo was played because Jenkins t the amaz- is the pianist in Kessel’s quartet. Kessel was given no informa­ outh Band, tion before the interview about the records played. ual in con­ I feel the lack of a piano. And because thing; from many musical aspects, it would ic precision Tke Records L Jinny Smith. When Johnny Comes Marching of no piano and because of nothing else be very inferior, but from the emotional lands of the Home (from Crazy tabyl. Blue Note). Smith, going along as a strong secondary theme content, I think it’s very high for what it’s «tgon; Quentin Warren, guitar; Oonald or supplement, it seems that the saxophon­ supposed to be. ums scream tofev. drum*. ist is urged more and more to give more The balance was not good. I don’t be­ rs at you in he never heard this before, but I know of himself and to play more double time lieve the tune is a great classic or has a a’s Jimmy Smith. From what I’ve heard Ie of cases and to extend himself that way. Three great message, but I do believe the honesty d the organists around, he is the most and sincerity of the people who were play­ :raphs) the stars. ps-onentid. I like his feeling, his lines. ing. It was very fine but . . . two stars. ft since the 3. Wes Montgomery Airegin (from Incredible Is ability to take the organ, which is a lazz Guitar, Riverside). Montgomery, guitar; S. Woody Herman. Original No. 2 (from Moody i read the wi cold instrument in jazz, and make Tommy Flanagan, piano. Percy Heath, ba»; Woody, Everest). Charlie Byrd, unamplified the over-all t warm and seem to make these notes Albert Heath, drums; , com­ Spanish guitar, composer. little from -ad and twist and all sorts of things— poser. You’ve really stumped me there. I've ' in which the way does with the vibra- Very, very fine. I think that was Wes never heard anything like that before. Montgomery. Wes is an incredible guitar­ t essentially none Also, I like his musical conception Sounds like the acoustical guitar or a gut ist. 1 don’t know how to base my evalua­ d playing the bass with the left foot. This string—1 can’t make up my mind which tion—in terms of whether he’s making a i beautiful, too. it is—with a band. have acqui- contribution as a new voice or whether lat as com­ For the greater part of it he sustained the feeling There were a couple of times it’s simply a terrific performance. I thought at first it might be Charlie ime of the that I thought he could have effectively The rhythm section sounded fine behind Byrd with Woody Herman, but I don’t ling to gain, -me out before the record came to an him. I’ve not only heard Wes—I’ve played know I’ve never heard that sound before inal and re- end. but he sustained the groove beauti- with the Montgomery brothers. At one of the acoustical guitar playing with a technieally Ml). Four stars. time, my group was working in the same band. Musically. I don’t think it’s a good which they town, und I went over and played with fusion It didn’t swing. The band sounded 1 Win Coltrane, like Someone in Love (from good, but I didn’t seem to feel the jelling the ethical them It was a wonderful experience. He Uuk Life, Prestige). Coltrane, tenor saxo­ between the two, and I felt that the sound importance is. I think, the freshest new voice on phonei Earl May, ba»,- Arthur Taylor, drum*. guitar going today. of the instrument was harsh. . that long It’s either John Coltrane or someone The tune is Airegin by Sonny Rollins. I don't know if this was reproduced s issued on •bo is a disciple of that particular school This is an excellent cut showing Wes’ abil­ mechanically, or if because the guitarist, number of d thought. It’s enjoyable listening, and ity. Five stars. in playing with a large band, exerted from old if it is John, I enjoyed it very much. himself and used more pressure than he That specific tenor sound is more agree- 4. Muddy Waters. Baby, Please Don't Go (from other com­ Muddy Wafers at Newport, Che»). Water«, normally would have. It’s the kind of an s of quality, >Ne to me in a different context than in vocal, guitar,- Jame« Cotton, harmonica. instrument that you cannot force. Perhaps, "it way it was served right here. I’d like from discs) I have no idea who that is except that with the large group, he was just carried to bear it with more of a rhythm section away. lission from 1 think it’s . . . very rootsy. When you -with the drums more aggressive to take hear something like this, it’s easy to sec It’s a wonderful effort, and things along lies. * edge off of that sound, and I’d like to where rhythm and blues and some of jazz this line could have a lot of validity—that mimend the “ar tunes in a little brighter tempo. really came from, because jazz as we play is, the unamplified guitar. A noble effort, salutes as a This has always been one of my favor­ today had its roots in music like this and but I don't think it came off any more «ton course, - tones, and when I hear it this way, I what went on before this. The only differ­ than . . . two stars. cent convert get the feeling that the beauty has ence is that we have refined it in many 6 Marvin Jenkin* Trio. Cubano Chant (from • representa- retained The chords are simply used ways. Marv Jenkins Arrives, Orovox). Ray Bryant, • in jazz he- 0 a device for some saxophone work. I I found the harmonica very refreshing. composer, Miles Davis, ’ think it’s terribly lyrical in that way, In this, it seems to add a dimension to I don't know the name of this song, em to mark I do like the way that this man plays this type of thing, and it isn’t done too but I've only heard it one other time—by 4 saxophone 1 would like to hear him often. ’s group. I don’t know if it's an fans today ” «her material. The band was out of tune and every* American song or not. This is like about July 20, 1961 • 57 90 percent of the things that I hear—very ample, and it's not a great contribution. think it’s raying anything. I think irt well done but not distinctive. It’s just well done. fairly recent. Seems to sound sort of like You could tell me that it could be 10 I don’t know who it is ... a very fine the Hot Club of France but years later different piano players, and I could accept pianist. I’d like to know what the tune is. . . . the approach . . . the way one guitar that fact. 1 don't hear anything that is cre­ Four stars. player backs the other . . . smacks heavily ative . . . other than in the current modern of the Reinhardt influence but fails to 7. Lonnie Johnson. Savoy Blues (from Blues and capture it. One star. idiom, and it’s very fine, good, slick jazz Ballads, Prestige). Johnson, ; playing, but nothing that sets him apart Elmer Snowden, guitar, Wendell Marshall, 8. Oscar Brown Jr. Sleepy (from Sin and from anybody else that I’ve heard. bass. Recorded, 1960. Columbia). Brown, vocal. This record is a very tricky one. When I rate something in jazz, I always 1 I’ve never heard this. I think it’s Jon don’t know if you are purposely trying Io have to think how much contributing there Hendricks, but I’m not sure, and I don’t get me on the edge of a cliff here or not. is geing on, because if there is a record particularly care for it. If it is him, it a I’m almost certain that it is not Django that is just excellent to listen to—let’s say not one of his best efforts in my estima­ Reinhardt, but I think it is someone it’s someone who sounds like Charlie Par­ tion, and if it isn’t, I can only say that heavily influenced by him and that it was ker—and you give that five stars, then I don’t enjoy hearing it. it doesn’t make recorded tn Europe. I'm almost certain of what do you give Charlie Parker? me feel too good. It has nothing Um MO The only thing that keeps me from giv­ that. pleases me. ing this record the highest rating that I Just as a wild guess—never having heard And mechanically, it is very ripen­ could give it is that I don't hear anything cither of them—I would say that it’s either 4 fresh. This is the kind of thing that if his brother, Joe Reinhardt, or it’s a fellow mental in that there's a lot of echo ind a lot of breath noises. It’s the kind of a you were playing it for somebody tn Aus­ in England called, I think, Diz Disley. ESI tralia, you could say. "Now I want you to They have the approach of Django. thing that strikes me an if they said, hear something—this is kind of the way They’re trying to play like him, but they "Well, let’s turn it out and see what haj II jazz is being played in the U.S. today.” do lack what the master has. pens. Like maybe it’ll either bomb or It's an example, but it’s not a classic ex- I don’t think it’s a good record. 1 don’t else get real big.’* No stars. SE

morals—only mores,” is pointed His set Blvd, night spot something more dissertations on today’s mores are the than generous allowances of superb most incisive, exploratory, and hilarious jazz, played by one of the best group! Ought to be heard today. 1 think he will be he’s headed in years. The resplendent remembered long after the Alan Kings raiment worn by the trumpeter turned and Joey Bishops are forgotten. out to be a bonus for this, his first The bill also marked the first appear­ Hollywood booking in more than two inthe ance at the Vanguard in more than years. Exotically impressive in full 20 years for Eldridge. Little Jazz has a Ghana regalia—braided pillbox head­ quartet and makes extensive use of a gear and a flowing blue-and-white robe Act variety of mutes, but his is not "Em­ —Dizzy was the most colorfully garbed bers” music. night-club performer in town. The first set was completely muted Visual appeal aside, during his too* LENNY BRUCE-ROY ELDRIDGE as he made his expert way through Out brief engagement the trumpeter re* Village Vanguard, New York City of Nowhere, Sometimes I’m Happy, affirmed his status as the greatest-living, jazz-trumpeter-bar-none, to this review* D«A Personnel: Eldridge, trampet; Ronnie Soft Winds, and a minor-key blues. Ies'- Ball, piano: Peter Ind, bass; Eddie The second set, which consisted of er’s ears at any rate. ih* < In Wright, Dizzy has a valiant spar­ B06 Locke, drums. / Never Knew, Tin Roof Blues, Misty, In a Mellotone, Undecided, and his ring partner. The reed man is a fierce, wax Bruce's opening night at the Van­ theme Yard Dog, was even better, with driving, and passionate player on ■ilto, NAT guard was also the New York "pre­ with some of his searing, open horn a hard blower who concedes nothing. Do# miere” of The Leather Jacket, a serio­ charging along the low ceiling. His flute work is the epitome of clarity »epa comic film short in pantomime with The supporting rhythm section was and purity of tone. His jazz ideas are jazz-record sound track. The film was • Coi generally good, though Locke was a executed with icy control. As a jazz­ •or written, produced, directed by, and little loud at times. Ball seems to have man he is, of course, no real match for »on stars Bruce, it demonstrated that he is shed his Tristano influence and de­ Gillespie — but who, since Charlie ?«l not only an extraordinary comedian and dra veloped into a hard swinger with a Parker, has been? "It’s enough for me," era a bright writer but also an actor of delightful personal style. he remarked between sets, “to try and much talent keep up with Dizzy.” Eldridge reaffirmed his stature as an dut During the course of his regular The rhythm section is well broken exciting, lyrical musician. The greats • T«b monolog segment that followed the film, seldom grow worse with age unless they in and drives the horns with abandon. did the denim-clad Bruce declared that he Drummer Lampkin compensates in his tail to find an outlet for their work • Mo would not do any of his recorded bits In combining Eldridge and Bruce, time conception for what he lacks in because they are not true to him any­ Vanguard Manager Max Gordon came finesse. Cunningham is often featured in ri more. Later in his three-week engage­ up with one of the best-balanced shows in arco solos: but, alas, in the course of • S«. ment, however, he did do some of his that any club has presented in some his bowing on Night in Tunisia, in­ older things. His two opening-night sets time. —Ira Gitler adequate technique, frequent lapses of dealt with new topics. He is constantly intonation, and a final hang-up in the Sen.’ drawing new material from the world idea department stood to his demerit. '¡nd < DIZZY GILLESPIE ¡trun around him and is one of the few per­ Schifrin, composer of the Gillespie- formers you can go to hear each time Summit, Los Angeles ana Suite, which the quintet frequently he comes to town, knowing that he Personnel: Gillespie, trampet; Leo performs with notable success, is J» will be provocative in fresh ways. Lenny Wright, , flute; Lak» impressive jazz piano man. with oh needs the audience's acceptance and Schifrin, piano; Bob Cunningham, bass vious classical background, who x- Chuck Lampkin, drums. doesn't want to lose it. (“You loved Sid vclops in his solos a kind of rolling flow Caeser once/’) Never one to disappoint his public, almost mesmeric in effect. IO Bruce's comment, “There are no Gillespie offered audiences at this Sun- Gillespie remains a master of the an 58 • DOWN BEAT of announcing, dropping such gems as a think description of a tune as ‘‘Shim-Sham- ort of like j ears later Shimmy-on-the-St. Louis Blues-Mambo- one guitar Boogic-Woogie-Cha-Cha-Pachanga—all cks heavily at once.” This outing turned out to be a it fails io crashing, compelling, fast, and eloquent blues, vested with the diverse personali­ on qualify in and Sod, ties of the trumpeter, Wright, and Q»wedO| Schifrin. ok it’s Jm OoShoo-Be-Doo-Be, which featured ind I don't the band's ‘‘vocal trio” of Dizzy, Wright, i him, it b and Schifrin, was effective dead-pan my estimi- comedy and better jazz. ly say that The richly evocative Kush, with its lesn’t make ■OOH I25T MUSICAI INSTRUMENT exotic and reflective main theme stated sthing that by Wright's flute, rose to a climax with a pulsating trumpet-alto duet followed ery cxperi- THE FAVORITE f echo and by a rhapsodic piano passage.—Tynan ■ kind of a ESPECIALLY DESIGNED FOR JOHN LEE HOOKER FOR ARCH TO? GUITARS they said, s what hap- "LIVE” MUSIC REPRODUCTION Second Fret, Philadelphia, Pa. Mississippi-born Hooker, surely one ■ bomb or of the fiercest and most “African” or “primitive” of contemporary blues per­ hing more formers, has been touring the folk music of superb circuit (coffee houses, college auditori­ sest groups ums, etc.) for about 18 months, since resplendem the release of his Riverside collection, eter turned The Country Blues of John Lee Hooker, is, his first the first disc to present him in the con­ e than two scious role of folk singer. He's been re­ ve in full markably successful at it, too, artistically (box head­ and commercially. -white robe Having spent several evenings at the ully garbed Second Fret during Hooker's stay, I can report that there's been no diminu­ MADE IN U.SA. ng his too- tion in the force, conviction, and in­ mpeter re- tensity that always have marked his atest-living- earthy singing and playing on record. DeArmt.iid Amplifier^ are wspcCLil’v this review- designed to prevent restrict 101» of I imagine (not having heard him play the complex sound waves typical of in person for a Negro working-class 'aliant spar­ ■»et “live” music, thu« assuring audience, which up until now had been i is a fierce, maximum distortion free power. his primary audience) that there is yer on alto, lUTUtn OF MODU RIST (OMrotul little if any difference between his work les nothing, Oual Channel Circuitry including for a coffee house clientele and for that w of clarity «pirate tremolo channel of a jook joint. Hooker continues to zz ideas are offer the same material — in undiluted I Control Panel Two volume controls (one Year after year professionals and As a jazz­ for earh Channell, ban ton* control, treble form — he has always offered. fl match for tone control, tremolo rote control, tremolo Because of his upbringing in the beginners alike vote the DeArmond ice Charlie depth ' onlrol four inputs, (two for each harsh Mississippi delta country, Hook­ Rhythm Chief their fa vorite pick-up igh for me," channel), pilot light, power/itandby switch, for irched top guitars Check why: jro-nJ iwildi, foie er’s music is thoroughly rooted in the “to try and strong, raw, starkly emotional blues • Retains true guitar tone* without Ihe stiff­ • Speakers: Two Jensen special design heavy dirty 10r contort «trie» style of the area, and no matter how ness sometimes experienced with conven­ well broker far away he’s got from the region tional electrici * Tebes. 3—I2AX7 dual purpose 2— ith abandon 6L6GC. 1—5AR4/GZ34 physically, he never has left home mu­ • Changes from solo ft full rhythm electri nsates m his calty by a flip of a Anger. * Modem Styling: Solid M“ wood con- sically. He is still very much a son of he lacks in drvdic with lock ¡oini comers. Fiiuihsd the delta. • Crystal dearness for solo— rhythm with a ten featured in ridi copper color Considering the fact that Hooker has sharp ' ching." he course of • Saw Height 18'’j width 24*, depth 10'A". composed, by his own estimate, more • Improved magnetic structure give* super­ Tunisia, in- than 300 blues and claims to remember ior tone balance. Iwo>» Wemolu foul switch included mt lapses of most of them, it is somewhat surprising ug-up in the Send for illustrated folder on this Send for illustrated folder on this that he uses such a small repertoire for and other DeArmond pwk-up<- for is demerit ■md other DeArmond musical in- his folk-music engagements. trumeni amplifiers. guitars. mandolins, violins, bass he Gillesptt- His program of tunes did not vary viols and ukuleles. et frequently appreciably from night to night, and he icccss, is on invariably opened each set with either m, with ob- ThRBIUiq Ftmou* tor be Armond Famous tor De Armond his powerful spoken blues Tupelo or his microphones 1111 Ha microphones H ■ ■ ■ ■ ■ ■ H4 d, who de­ I" I 'u,u' surgingly rhythmic Boogie Chilian. MF 11■■I■ IxmiUa I rolling flow ku mu Still, the use of such a small number VMS VIOIS of tunes brought home one important ROWE INDUSTRIES fact: Hooker is capable of vesting each 1701 WAYNC STRBET, TOUDO », OMO

July 20, 1961 piece with a very real force, urgency, companied by pianist Buddy Motsinger, maturity is unshackled by trite im­ and significance — and no matter how bassist Lyle Ritz, and drummer Jerry itativencss or gimmickry. These men many times you've heard a particular Williams. From her opener. The Best play their instruments their own way tune, it sounds fresh on each hearing. Thing for You Would Be Me, she em­ in a manner, collective and individual, I gave up counting the number of phasized restraint and discipline, yet that frequently leaves one loudly ap. Tupelos I heard in the course of the gave full rein to her considerable vocal plauding the integrity and skill ol their week, yet it was a new and moving flexibility. work. E« emotional experience each time. A very strong plus in Miss Olay’s Much emphasis is laid by Silver im The reason, of course, is that it was favor lies in her steadfast refusal to numbers familiar to buyers of his al­ bums. Thus, Senor Blues, Blowin’ the u new song each time, for improvisation play on the obvious. Do It Again was bu is at the very core of his approach, and performed with its infrequently heard Blues Away, Sister Sadie, and Strolluf wi are consistent vehicles for blowing. But even his staples (Tupelo, Boogie Chil- verse: The Man That Got Away be­ w while the tunes are familiar, in th« lun, In the Mood for Love, Hobo Blues, came a monument to understatement in pu Maudie, etc.) are in constant flux. the caressing treatment and the reprise case familiarity breeds only an affection r Several tunes, such as the angry You’d enhanced by the indefatigable inventive­ of the verse; My Baby Just Cares for Me to ness of the soloists. Bi tter Cut It Out, Baby, were extem­ was handled slowly and easily, coolly At Silver, of course, is his own man first porized on the spot. It left you gasping and insinuatingly, garnished with an an Hooker is a dramatic and exciting amusing new lyric in added choruses last, and always. An unspectacular performer. Not much of an obvious before building to a bawdy climax. pianist in the technical sense, he will showman, for there is a certain ama­ A previous characteristic of Miss frequently take a simple melodic figure, wa teurishness and unease to his song in­ Olay's sty le was her apparent fondness based perhaps on a line from a nursery coi troductions, for example, he is a con­ for bawdy, all-out belting, stunning in rhyme, and elaborate on its rhythmic ch summate artist in communicating direct, effect but a bit overpowering at times. possibilities with a dedication that be­ tM honest emotion and projecting his own In the new Olay, this is tempered and comes visually evident. Such playing is involvement with his material. In an consequently much more effective I an obvious physical strain on this frail bu era of standardized, mass, mechanical Want to Be Loved, for example, which musician. That perspiration is not just act music, John Lee Hooker is an original. has become a hard-to-resist vehicle for showmanship. —Pete Welding sexiness, was taken very straight and Mitchell and Cook are consistently with the verse until the final tour bars, stimulating and just as individualistic 12 when all the stops came out as the Mitchell's tone is big and clean, and he bo singer romped home in delicious parody demonstrates a finely honed style On of of every night-club sexpot who has Biowin', taken as the second number in Ar maimed this song. ot one set on the night of review, he began his solo quietly with just ban w Between-shows jazz fell to the Dave and drums working behind him After Wells Quintet, which, with solidly building to a climax of well-constructed swinging originals such as the leader’s COI improvisation, he made his exit with Confounded, more than adequately ca­ the grace and melodic mastery. Casting tered to dancers. Wells’ personnel con­ himself in a role of different character sisted of the well-knit Motsinger-Ritz- in Sister Sadie, the trumpeter preached Williams rhythm section, his own bass heatedly to a pulsating exciting bass and trumpet, and the tenor-baritone saxo­ drums background. ■y RUTH OLAY phones of Dave Madden, the latter In this era of hard-toned and brash working his final Hollywood gig prior The Summit, Hollywood tenor men. the playing of Cook is re­ to emigrating to San Francisco hat Fickle fate has played her share of freshing and emotionally balanced. He tricks on Miss Olay. The group's ensemble effect combined gets a sound more than slightly remi­ the bu This onetime vocalist with the Benny a big sound, reminiscent of some groups niscent of Stan Getz’, yet maintains an the Carter Band of the late 1940s looked led by bass trumpeter Cy Touff, and inner dynamism that conveys a sense like one of the more promising bets for much flexibility for the soloists. Mad­ of furious energy. Without falling into Bei stardom a decade later when she began den is forceful on both saxes and rates the outmoded “cool” trap and its im­ a second career as night-club singer. A as an underestimated jazzman or, in any plication of near-impotency, Cook says the performer of distinctive individuality, event, a relatively ignored one. his prayers with a grace that maintains piai she proved time and again her ability Wells, one of the few bass trumpeters an integral inner swing. to capture club audiences with a high- in jazz, is most effective on ballads. His Taylor and Brooks are more than whi voltage delivery and dynamic stage group was essentially a pickup band for empathetic teammates: they cook tumul­ tre for presence. Then came romance, a second the engagement; he maintains a big tuously behind the horn men but man­ marriage, and semiretirement to In­ crew for rehearsal purposes and occa­ age to maintain an unohtrusucneM of \ dianapolis. sional jobs in the Los Angeles area. rhythmic character. MIC Miss Olay’s resurrection of her career —Tynan Brooks, moreover, is an electric solo­ «nd the took place recently at this Hollywood ist when called upon. night spot. Not only did she reveal all- HORACE SILVER QUINTET During Brooks' rhythmically complex big .1 round improvement in voice, presence, Zebra Lounge, Los Angeles yet well-controlled solo in Biowin' with lou and repertoire, she also advanced the Personnel: Silver, piano; Blue Mitch­ its expert use of dynamic shading. Silver and most persuasive argument to date for ell, trumpet: , tenor saxo­ etched an unforgettable picture in my re« what seems to be an inevitable climb phone; Gene Taylor, bass; Roy Brooks, mind. Perspiring profusely, he sat with sow to the top. Ruth Olay, in brief, has be­ drums. his back to the keyboard as he listened bun con come one of the most dynamic and Though stamped with the strong per­ to his drummer During this brief res­ pro vocally talented entertainers in the en­ sonality of the leader, Silver’s quintet pite from playing, Silver sagged wearily I tertainment business. is the embodiment of joyful, honest, and against his piano, the embodiment J ibo Statuesque, strikingly good-looking free-blowing modern jazz in the hands fulfilled exhaustion, the personification Cor and impressively gowned, she was ac- of five young players whose musical of the essential spirit of jazz. —Tynan iag 60 • DOWN BEAT trite im- lyricist Ted Koehler wrote a series of scrutiny that leaves the reader with [best met highly successful shows from 1930 to only one conclusion: songwriting teams own way 1934. These scores produced Stormy have no particular way of working to­ individual, BOOK REVIEW Weather, As Long as 1 Live, Between loudly ap- gether, but Arlen produced some mem­ the Devil and the Deep Blue Sea, and ill of their happy WITH THE BLUES, by orable songs with all of them. Edward Jablonski. Published by Double­ a number of other tunes now standards. The only fault in books of this kind It would have been relevant and in­ t Silver oo day 4 Co^ lac. 286 pages. $4.95. — and the author cannot be blamed formative if the author had analyzed of his al- This is an affectionate and readable for following an established and success­ Arlen’s long, intermittent relationship 3lowin' the biography of Harold Arlen, the song­ ful pattern — is that the subject and with Negro themes and performers, nd Strollin’ writer who, in the last year or two, his associates do not emerge as fully which began with the Cotton Club lowing. But seems to have earned a great deal of delineated, living persons. shows and continued in Hollywood ar, in this publicity about how little publicity he There is no attempt to explore with Blues in the Night and Cabin in in affection gets. Whether or not he is as unknown Arlen’s personality in depth, no word the Sky and on Broadway with Jamaica, e inventive- to the public as the prolog implies, critical of him from the first page to House of Flowers, and St. Louis Arlen certainly can claim a quantity the last, and only brief mentions of Woman. n man find and quality of output beyond that of Mrs. Arlen that says little about her as There is a passing mention of the ispectacular several celebrated tune-smiths. a human being. ise, he will fact that at the time of his birth, the Jablonski, writing in a straightfor­ On the rare occasions when Jablonski Iodic figure, Arlucks shared a two-family house, with ward, journalistic style, gives a fairly does become critical — for example, in n a nursery a Negro family living on the first floor. complete factual description of Arlen’s his analysis of the reviewers’ reactions ts rhythmic Whether this had any later significance childhood as Hyman Arluck, the can­ to St. Louis Woman — the writing an that be- is left unexplored. Jablonski does, how­ takes on strength and color. h playing is tor's son in Buffalo, N. Y.; his years ever, quote the Negro composer Hall >n this frail as pianist and arranger, and his short Johnson, who said of Arlen’s America- The final chapter, telling a little of but not insignificant career as a fairly i is not just Negro Suite: “Of all the many songs the Arlens’ home life, adds a pleasantly active singer, recording in 1931-4. written by white composers and em­ intimate touch that I’d have liked to consistently In the rest of the book, Chapters 3 to ploying what claims to be a Negroid have seen extended throughout the lividualistic. 12 (every chapter, as is customary in idiom in both words and music, these book. ean, and he books about popular composers, has one six songs by Harold Arlen and Ted Happy with the Blues (an unsuitable J style. Oo of his songs as its title), the author deals Koehler easily stand out above the rest.” title, since the author points out that —— A • • nd number in detail with the gradual emergence of rest. only a minute fraction of Arlen’s work review, he Arlen as a writer, from night clubs Arlen’s many lyricists — Dorothy is related to the blues) is well illus­ h just bass to stage shows, movies, and television. Fields, Yip Harburg, Ira Gershwin, trated with 32 pages of photographs him. After One chapter, “Harlem Holiday,” Johnny Mercer, Ralph Blane, Truman and concludes with an excellent song -constructed concerns his extended relationship with Capote — and their various methods of chronology and a selective discography. s exit with the Cotton Club, for which he and collaborating with him are subjected to —Feather •y. Casting of a “stereophonic concert.” The big The U.S. public, however, seems nt character er preached bands, he said, were killed by electronic willing to hold still for almost any sort ing bass and PERSPECTIVES boosting on records, which make them of trivia if it is served to them with gim­ “sound dead, dull, and hollow when micks and a straight face. Lukas Foss By RALPH J. GLEASON 1 and brash you hear them live.” showed this with his several improvisa­ Practically no subject in music has Cook is re- Even taking into account ConnifiTs tory concerts with classical musicians. had more nonsense written about it than alanced. He vested interest in electronic amplifica­ Jazz, which can be as dull as dish­ the wish-dream of the return of the big ightly remi- tion, this is a silly statement. Has the water any time (what else can the in­ bands—unless it’s the analysis of why naintains an Zoomar lens of television made live terminable flow of “soul” albums be they departed. eys a sense sports obsolete? It hasn’t, and it won’t. called?) remains the hope of live As has been pointed out in Down falling into Whatever lulled the bands, it certainly music in this country. That it is our Beat, what has made it impossible for and its im- wasn’t stereo and/or high fidelity. most original artistic product may be a the big bands to return is economics, , Cook says It’s interesting to note that his first cliché, but it’s still true. which is what killed them in the first at maintains concert tour was a big success. His The point at issue is that of the con­ place. But we don’t want to face it, second, on which be is now embarked, tinual struggle for the creative artist to more than which in itself is an indication of the is just the opposite. It may be that once continue to create (i.e., to stay alive) in cook tumul- great attraction the big bands still hold is ail the audience can hold still for a society that insists on molding him •n but man- for some of us. when the product is basically as dull to the contrived and insists on substi­ usiveness of With the exception of a very few, as ConnifiTs. tuting gimmick for reality and expend­ such as Duke Ellington, Harry James, Unfortunately, only a relatively small ing its energies on dramatizing trivia. ïlectric solo- and Count Basie (and how long can portion of today’s audience has ever Mort Sahl comments that André Prev­ they go on?), I am convinced that the had a chance to hear a good big band in’s new LP is called Like the Last One. ally complex big bands will be limited to seasonal in person. It happened that in San This is true of a great many more Slowin’ with tours, as far as the road is concerned, Francisco recently, the Conniff concert recordings than their recorders would ading. Silver »nd for the rest it will be rehearsal and played there one week and Harry James like to admit. cture in my recording units. And 1 would like to see the next. There is simply no compari­ The yardstick of commercial success , he sat with some AFM help given to the rehearsal son. Not that anyone who ever has still is used to judge art. The jazz mu­ ; he listened bands instead of this silly dance-band heard James or Basie or Ellington or sician still is practicing an art in the lis brief re*- contest, which, each year, merely one of the other good big bands would market place and under the rules of a gged wearily proves again that there’s no future in it. ever have thought a comparison pos­ trade union designed to protect work­ hodiment of The most recent pronouncement sible, but it just goes to show how we men, not artists. It’s a wonder any of jrsonificatioo ‘bout the big bands comes from Ray continually deal, in this advertising-age it is any good at all, and the great z. — Tynan Conniff, who has been touring a travel­ society, with the “image" rather than thing is that so much of it is. That in ing recording session under the guise the reality. itself is quite a tribute to jazz. gQ

July 20. 1961 • 63 SOUND Md FEEU LIGHTNIN’ (Continued from page 15) Those Ingredients so important to both professional and student per played every facet of his impressiw cussionists are built right into talent. He sang and played songs like every fine Weather King Product This is a remit of exhaustive Santa Fe Blues and Bottle Up and research, trial and development by leading professional per­ revered songs, fixed by tradition; hi cussionists. performed original songs. Short-Hatred Weather King Brum Heads offer you excellent stick and brush Woman and 75 Highway, which hi response, even thickness and are unaffected by any weather. The composed in the customary molds urf crisp s unding long lasting WEATHER which have been assimilated into ¡hr BRUSH SURFACE is not found on any other make tradition itself, and finally, mixing both Weather King Practice Pads, KING tradition and imagination, he extem­ new and made in 4 sizes are designed to accurately simu­ porized a series of blues performance* late the feeling of an actual like Mama and Papa Hopkins and Ga drum | DRUM HEADS Weather King Oram Sticks will Off My Toe, a stunning re-creation of delight you with their crisp ■ espon । and fast controlled his days as a sidewalk entertainer. action. Warp-proof, chip and nick DRUM STICKS These impressive performance] resistant, these drum sticks, in B great models, offer you real showed Hopkins to be a traditionary ecnaonrv and superb quality PRACTICE PADS who had superimposed his cmbelliA. See and try these fine products at leading music store* everywhere merits and refinements on an .ilready existing and solid structure. of fthergUss Atvd high taosile Concert appearances soon folio* u! retint. drwelopi-d by Hi MO specifically to withstand th«* and in the early part of November Hop. kins was before television cameras for a national broadcast on the CBS Tek- vision Workshop, a special and sensi­ tively done folk-music show. While in the east, he appeared on i hootenanny program at Carnegie Hal (and was described by writer Nil Hentoff as “the only real folk singer on the program, an distinguished from Wm. 5. HRVHE5 (0 singers who ‘interpret’ folk material”), initiated a concert tour of the coUegt 12 Piedmont Street circuit, and participated in a series of recording sessions Lightnin' had taken Boston 1G, mass New York City by storm.

Vioncern has been voiced by various FLUTES - writers about whether he will be able to weather the adulation of the folknih. PICCOLOS who now comprise the bulk of ho audience, and remain true to his art. REPPIRSHRYRES FLUTES and PICCOLOS ORLY It is true that he has developed a glib stage manner tor concert appear­ Il V Branch LU HI HAVRES [0 ances, at which he seldom performs his more moving, powerful, or controverail 157 Ulest 57th Street flew York 19 H V pieces. For the folk audience he pre­ sents a program of attractive, though routine, blues concerned largely wifi women and the pleasures and pains of sensuality. He gives only a small por­ tion of himself, and the critics have HOW TO PUBLISH ACCORDIONISTS noted this. He has withstood years of Join ow successful authors in a Complete catalog of the world’« largest pub­ difficulty, they seem to be saying, bw complete and reliable □ublishing lisher of accordion music JAZZ, solos, duets, now will success spoil Lightnin’? W ■■■■■* program publicity, advertising, and band numbers in every grade Polkas ■ WH handsome books. Speedy, efficient Waltzes. Marches novelties, classic, Spanish Hopkins is acutely aware of the service. Send for FREE manuscript rhythms, and much, much more! FREE! dichotomy that exists between the fare report B copy of PaMidi Year Baek. PIETRO DEIRO ACCORDION CAPITOL Rflfllf CARLTON PRESSDepL 02C 133 SaaanMi Rea. South Hew York 14. R. Y. he offers his concert audiences and rhe M WIW M Fifth Ave., New York 11, N. Y. powerful, impassioned, and fiercely in­ trospective blues he sings for his friend* and neighbors on Houston’s Dowling St “I stay with my own people," he said “I have all my fun. and I have THE NAME TO REMEMBER my trouble with them.” Since his song* reflect this situation, he reserves the full force of his artistry for them — they’ll always serve as a touchstone for him. He’s in east Texas now, playing in the dives and took joints of his e irliei W. T. ARMSTRONG COMPANY INC ELKHART. INDIANA leaner years. SB DOWN BEAT 15)

vongs like p and Go, • ihil'HV ht Vr PRECISION BUILT which he molds and SELECTS.... -Sluiq&i/and D/uund d into the nixing both he extern. ' un tn and Gtt • t. ■ on hi tainer. rcet t-41, embellish, an already

n followed, cf'tK- Hop cameras tor s CBS Tele- I and sens- v. peaked on * irnegie Hal writer Nw folk singer lushed from material”), the college a series of »’ had taken

by various will be able the folkniks, bulk of his to his art. developed a cert appear- performs his . .mirmersu dAVbailey :nce he pre- tive. though largely with and pains of a small por- critics have >od years of : saying, but itnin’? rare of the Relaxed command, absolute sensitivity are faculties with which Dave Bailey een the fare encourages all groups with whom ho has worked In the past to a “swingin ’ nces and the performance. He has previously played for , Cy Coleman and tinier Chris Connor. d fiercely in* Dsve is noted for constructing his “fill-ins” with exceptional regard for continuity. or his friends The critics and jazz enthusiasts have acclaimed Dave’s newest album releases. $ Dowling St GETTIN INTO SOMETHIN” and “.” as A-l. • f’ ifo secret this rating has been likewise credited to SLINGERLAND DRUMS for people,” ht r*0*1**-and rightly deserved. Only SLINGERLAND offers the vast selection of and I have finishes from which Dave chose his Capri pearl outfit. He is one of the **y first modem drummers to incorporate the use of a 14"xl8* bass drum. ice his songs erves the full Lnnk to SLINGERLAND for the most in: hem — and * Meat expressive design • Dependable tonal performance »uchstone for • Magnificent construction • Stellar beauty NEW SLINGERLAND PUSH-BUTTON TOM TOM LEGS now, playing Th.se baautiful naw last CAN'T SUP. J«»t P««h »ha button of his earlier, SLINGERLAND DRUM CO. to adjust Release the button and the lent stay at that <683 Milwaukee Avenue • Niles 48, Illinois height The die co»t hauling l> polished to a high lustre S3 and triple-chrome plated AD LIB Quintet, July 13; the Stan of Faith, July On Cape Cod. the Jazz Onshore proj­ (Continued from page 10) 20; Booker Ervin and the Playhouse ect has begun its second season at the Four, July 27, and the Dick Welistood Club 46 (drinks are 46 cents during the means of raising money Some 8,000 Quintet, Aug 3. Duke Ellington and afternoon), the Hotel Terrace Gables in persons came to the first festival, and Gerry Mulligan are scheduled to appear Falmouth Heights. Anita O’Day finishes 24,000 were there last year. The church before the season closes. there on July 9. Other artists include was rebuilt. Among the music tents, Philadel­ Carmen McRae, July 10-16; Buddy U.S. jazz festivals, which began with Rich. July 17-23; Dizzy Gillespie. Aug phia’s Music Circus already has had FJ the Daily News late edition extrava­ 7-13: Josh White, Aug. 14-20: lambert. three jazz concerts. The rest of the sum­ off ganza at Madison Square Garden in Hendricks-Ross, Aug. 21-27, and May. mer schedule includes George Shearing, to early June, and will conclude in Sep­ nard Ferguson, Aug. 28-Sept. 4. On tember at Monterey, Calif., have nearly July 10; Dave Brubeck, July 17; Duke (« Ellington, July 24; Louis Armstrong, July 22-23 owner Edward Leary plans all been announced. Latest to announce j« July 31; Lionel Hampton, Aug. 14; a jazz contest, the winners of which mill their dates are Detroit, Aug. 4-6; Buf­ FI Count Basie, Aug. 26. appear at the club sometime during the falo, July 28-30; Saugatuck, Mich., two open weeks, July 24-Aug. 6. by Aug. 11-12. Amusement parks are following the for Back in New York, Copa City will But the real increase in summer jazz jazz lead. Freedomland in New York JÄZ continue its Sunday afternoon (4 p.m.) activity is on the concert circuit. In has regular Dixieland sessions, nightly wo jazz for the soft-drink set. Initial reac­ addition to its regular festival, Randall’s dances, and occasional jazz attractions. tions to the matinee jazz were excellent F.I Island has already presented two of Lionel Hampton was the first of these ba: three concerts—Louis .Armstrong, Can­ attractions . . . Cincinnati’s Coney Various civic groups contemplate ionic W) nonball Adderley, and Gerry Mulligan Island has expanded its name-band sponsorship of their own. In Manhat­ in the first and Duke Ellington. Sarah policy. Bands play there Thursday tan, the Crystal Room, a supper club FJ Vaughan, and George Shearing in the through Saturday evenings. Current opposite El Morocco on E. 54th St. hat cou begun a parade of jazz pianists, led of! second. The last concert, July 22, pre­ bookings include , Buddy ens by Billy Taylor. Willie Shore, who has sents Dave Brubeck, Carmen McRae, Morrow, Les Brown, the Jimmy Dorsey Da booked jazz talent for many New York and . Orchestra, Les Elgart, and Ralph Mar­ ’O' New York’s Museum of Modern Art terie . Atlantic City’s Steel Pier pre­ clubs and is now responsible for the Ht already has begun its second year of sents Buddy Morrow July 7-13: the new room, promises appearances by Na Jazz in the Garden. Held on 10 con­ Glenn Miller Orchestra, July 14-15 and Eddie Heywood, Barbara Carroll, Mar­ secutive Thursdays at 8:30 p m., the 18-20; Ralph Marterie, July 29-Aug. 3; ian McPartland, and Andre Previn. Ad first three featured Bud freeman with Les Brown. Aug. 4-10; the The Modem Jazz Quartet, which be­ Clt Pee Wee Russell, the Quartet and Jerry Wald. Aug. 11-17; gan this year’s Music Bam concerts on □ Octet, and the -Billy Mitchell Maynard Ferguson. Aug. 18-24; Billy July 1, tours the Continent from OcL 8 Sextet. Most of the remaining dates are May, Aug. 25-Sept. 1, and Stan Kenton, until December . . . Gil Evans will re­ set: the Roy Eldridge-Coleman Hawkins Aug. 2-4. form his 11-piece group and work with

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DOWN SEAT it this summer . . . Tony Scott has left ffshore proj. Japan for an indefinite stay in France :ason at the . . . Artie Shaw has been named among s during the F.I.B. the new faculty members of the School x Gables is of Jazz at Lenox, Mass. . . . Fern Mor­ Day finishes (Festival Information Bulletin) gan, who was Miss Jazz Festival of lists include 1960, has become Miss Medina Temple, -16; Buddy Volume 2. No. 2 and will represent the temple in the lespie. Aug. F.I.B. is a free reader service Shriners national talent contest in Au­ 0: Lambed. offered by Down Beat in response gust. . . . Talent Associates has taped a 1, and May- to the flood of mail and phone one-hour television special of James FIRST CHOICE ¡ept. 4. On (and some telegram) requests for Thurber's The Greatest Man in the OF MEN WHO Leary plans jazz festival information. World. As was the case with a A f which will KNOW BRASS! Thurber Carnival, Paul Ford has a : during the FJ.B. is revised every two weeks Frank Hellen A Co., llkborw, Wit. starring role, and Don Elliott wrote and ug. 6. by the Down Beat staff from in­ Trumpet» In tb, C and D ♦ Camels formation received from all the performed the music. Tenor and Bau Trombone» ♦. French )a City wig jazz festivals throughout the Les Davis has joined the WNCN-FM Horn» ♦ Harmony Bra»» ♦ Saxophone» »on (4 p.m.) world. staff. His jazz show runs from 10 p.m. Initial reac­ F.I.B. is designed to answer the until 1 a.m. five nights a week. This is re excellent another step forward for jazz, moving nplate some basic questions — Where? When? Who’s playing? How much? into prime radio time .. . Long Island’s In Manhat­ WLIR has two “stereo remote” broad­ supper club F.I.B. is yours free. Mail the casts a week, one each from Copa City 54th St. has coupon and self-addressed stamped in Jamaica and San Su San in Mineola. lists, led off envelope today. Both occur during jazz disc jockey re. who has Down Beat Alan Grant’s regular Jazz Nocturne r New York 205 W. Monroe, Chicago 6, III. show, 10 p.m. to 1 a.m. Both are broad­ ble for the Huso send me, without cost or obli- gttion. your current F.I.B. cast live monaurally, but club patrons iarances by hear bandstand sound through station- Name^------anroll, Mar. provided stereo equipment . . . ABC Address------Previn. radio’s Dance Time Saturday at 10- t, which be- City______Zone State------10:25 p.m. continues to feature big CHOOSES THE concerts on □ subscriber □ non-subscrlber bands. Sal Salvador’s followed Maynard CONN SOUND from Oct. 8 Ferguson's. The producers contemplate ans will re- additional examples of jazz, including the i work with actual sessions. Glenn Osser conducts wKpA reason why at the studio orchestra that includes ^^your Conn dealer’s ST! insist on the best , Boomie Richman, ARRANM- Chauncey Welsh, Ernie Royal, Joe »O GROUPS Wilder, and Don Lamond . . . Two N $2.00 taped shows from the Robert Herridge ...... $2.« GROVER COLD SORES ...... $2.00 Theater television series—Miles Davis featured in one, in the O $100 GUITAR MACHINES Ahmad Jamal FEVER II. ..$2.00 other—have gone by diplomatic courier BLISTERS rY ROGERS, ...... $2.00 standard equip­ to the Congo. The arrangement for this Î ...... $1 » ment on most was worked out by CBS Films, Inc., ...... $1.» leading brands of and the United Nations . . . Leonard hit labvloot guitars... Grover (BÜaWc all modem Feather has pointed out that the Rou­ Only $1.» tor durability... F JAZZ. In- lette recording of Duke Ellington and handsome appear­ EARLY APPLICATION MfDfCATED FOR hit Mcillng Louis Armstrong, heralded as “the first . $1.» ance... lifetime ever,” was preceded by a Victor record­ USUALLY PREVENTS QUICK MUTE DAILY GSi Sy Si* precision tuning THE UNSIGHTLY tot Slmt, Al ing of those two in 1944 . . . The UU CONDITIONS book. $1 50 writs hr catalog.*. FORMATION OF A THi UPS, KfCPS THM IGINALS — Charlie Parker Record Co.’s search for COLO SORE OR here originel GROVER MUSICAL SOFT AND HiALTHY. PRODUCTS, contemporary artists, to supplement its FEVER BLISTER Alto So« In- tapes of Charlie Parker, Lester Young, dingt. WH» 744 BoNv«, ...... SI» ChvoiaU IS, Okie Billie Holiday, etc., has resulted in the Croat Tenor signing of drummer and ...... Si.» singer Joe Carroll thus far. The com­ »UV THE REED WITH THE GROOVES Ultra i»odm pany said it expects to sign several lout itylW« Th Critics Poll .$1.» * Next issue, Down Beat will “name artists” before the month is over. ALTO SAX— The Woodchoppers doing the cutting a men Jan publish the results of its 1961 JIB International Jazz Critics Poll. with Woody Herman are Bill Chase, lANCING: A Differing from other jazz polls trumpet; Gordon Brisker, tenor saxo­ or small er uniform grading ...... $2 00 in that it reflects the opinion of phone; Nat Pierce, piano (he also wrote r seiet direct experts throughout the western the scores); Chuck Andrus, bass; Jimmy easier response Campbell, drums ... Chris Connor and Jltro moder» world, the critics poll has grown better intonation id...... »IJ0 more important each year. are now booked exclu­ Don't miss it in the Aug 3 sively by Associated Booking Corp. . .. longer lasting ! CRE RD is so pleased with the “sue, on newsstands July 20. Ernie Wilkins MADE IN PARIS OF A I 21, NY ******** reception given to his quartet that he FINEST FRENCH CANE U plans to tour with it. He expects to sign JULY 20. 1961 • 67 City- » hooking and recording contracts soon. tois and disc jockeys to support a voca Benuu His only concern, he said, is whether treatment of Cumana, written by pianis Woodl Classified Ads another horn should be added He said Barclay Allen. Allen was paralyzed ku lodne S5c PER WORD—MINIMUM CHARGE 5825 he hopes that his Jazz Suite will be crash in 1949. There was some hop ground DEADLINE 20 day» prior to recorded soon, adding, “I spent a year that he might play again. Recently, ht writing it. With that, I hope to prove suffered another serious injury. Hj myself a jazz composer.” friends are rallying to his aid. Mu-, Count Name Address. City and State Box Numbar Service, $1.00 Extra Joe Newman will leave soon for The most unusual jazz record news were si Sweden to meet his parents-in-law . . . of the month comes from England Buddy where the National Union of suffere ARRANGEMENTS Bassist In Manning has joined the Bo, Louis Armstrong All-Stars . . . Peter and Shoe Operatives made a dun ha do SMALL BAND DIXIELAND and modern jazz ar- rangem nts Free lists. Zep Meissner. 5015 Duchin. son of the late Eddy Duchin. play to and for its 5,000 younger me» on his Biloxi, North Hollywood, Calif.______debuts his own band at the Empire bers by distributing an especially pro­ his dei KENDOk KOMBC specials. Manuscript size full­ it pre? length special arrangements that really swing Room in the Waldorf-Astoria in the duced jazz record by British tradition with any combination of Bh and Eh instru­ fall . . . Stan Kenton is due at Basin alist Acker Bilk. Bilk and the NUBAy workei ments, plus rhjthm. Free list. Kendor Music, Inc., Delevan, N.Y.______Street East at the same time . . . Singer avoided such obvious titles as Boottv men, t SPECIAL MATERIA) for all instruments, dance Gene McDaniels, who complains of Body and Sole, even though the public Win bands, and combos. Swing Lane Publications, Beverly 1, N.J,______threatening schizophrenia caused by his relations firm that organized it all a at the LES BROWNSTYLED ARRANGEMENTS for » brass, 5 resolve to be a jazz singer in the face of uniquely titled Mountain & Molehi House reeds 180 septet charts. Bob Eberhart, PO Box 323, East Lansing. Michigan.______his current and hit pop record, was The record jacket gives equal billing to rhythn accompanied during a recent Village Bilk and British boots piano; FOR SALE Vanguard party by Les McCann, piano; Six jazz books are in the oStaj drums ANTONIUS STRADIVARIUS 174" Violin. In my fam­ Herbie Lewis, bass; Ron Jefferson, Simon & Schuster will publish Georp consol ily fo near c-ntury. Sam Brown, 22 Summit, Norwalk. Ohio.______drums . . . The Connection, now in a Simon’s The Feeling of Jazz this fa) with tl USED WHITE ORCHESTRA COATS SINGLE BREASTED film version, did so well with critics Diamond Book, a soft-cover coinpaw the Be $5.00 TUXEDO TROUSERS $4 00 KALE UNIFORMS, 552 W ROOSEVELT. CHICAGO ILL, _ during the Cannes Film Festival that it has scheduled five in the jazz field produi CLARINETS!' WOOD1 NEW!! $65. ; Ebonite $49 05. has had several other festival offers. Martin Williams will write about the brand New Flutes, Trumpets, Cornets $39.95. 1309 Trumpeter will be seen on a New Orleans period. Wen Shih about Elmwood. Columbia, S. C.______Al Hirt the E Danny Thomas television show late this swing. Ira Gitler about early moder week < MISCELLANEOUS summer . . . The Many Splendourcd jazz, and Joe Goldberg will cover the The WRITE SONGS? Read “Songwriter’s Review” Stompers, an octet composed of Madi­ contemporary period. No author has a w© magazine. 1650 DB Broadway, New York 19, 25c copy; $2.50 year.______son Ave. advertising men, was heard been signed yet to cover the 1920s. Iambi 25,000 PROFESSIONAL COMEDY LINES! MONTHLY recently on CBS Radio's In Person. Redd GAG SERVICE FREE CATALOG ORBEN PUBLICA­ PHILADELPHIA TIONS, 111 E CARPENTER ST.. VALLEY STREAM, Spokesman Hal Davis, accordionist, Basie founder of the group and assistant to Local newspapers continue to foul nighte SHEET MUSIC exchanged. 5Y per sheet Send us old; we send new Jerry Wills. 5143 Anaheim Grey Advertising's president, is inclined up names of jazzmen. Sal Salvador was of the Rd.. Long Beach 15, California.______to run everything up the metropole to billed as San Salvador for his Steel Pier Iromb SINGERS''GROUPS For major ecording contracts date in Atlantic City And Paul Cbm For information write Mr. Buhler, 11627 see how it swings as well as who might Basier Mayfield. Hollywood 49, California. salute Sample Davis quips: "The musi­ hers became Chamberland for his Sho* Harry Boat appearance with the Miles Dm RECORDS cians union knows we don't compete and ti with their men, because they've heard group featuring J. J. Johnson. Other re­ weeke DONATE JAZZ IP’», FOE FREE DISTRIBUTION BE­ cent Show Boat attractions included HIND IRON CURTAIN JAZZ-LIFT, BO> 9M. BAT­ us play . . . The secret of our success Count TLE CREEK, MICHIGAN. is—no rehearsal . . Somebody suggests Art Blakey. Chris Connor (billed a Bas HAWAIIAN GUITARIST, made 3500 records!! Read a number and. after a little discussion, Connors), and Les McCann. weiat about him, issue 35. Six issues, $1.50. REC­ somebody else says, ‘Why doesn't the George Shearing did big business ORD RESEARCH, 131 Hart, Brooklyn 6, music put it into the small end during his Red Hill date. Sank Unce was a surprise booking at the DISPOSITION—RECORDS. BROADCASTS—Holiday. of their horns and see how it comes Vaughan playin Lester. Goodman, Ellington. Free listing out.’ If it comes out okay, we go . New Jersey room after Gene bmp ARG, 341 Cooper Station. NYC. There Music is a many-stompered thing.'’ and Carmen McRae appeared . . . &• his tr. WHERE TO STUDY Verve executive Creed Taylor’s secre­ Philadelphian , who hr stitute tary, Margo Gun an, is the perfect em­ tow'n several years ago to join Woody WESTLAKE COLLEGE now offering a one rear Stark course that gets you ready to earn a living ploye. A graduate of Boston University, Herman, took time off from the Byt use o in music. Our alumni got 6569 totes in Bye Birdie pit band to sit in on tnitnpf PLAYBOY jazz poll. 533 Alumni in L.A she has a degree in music She is a entert local List of successful alumni sent. Send musician with jazz interests, a song­ with during the band's name and address only to WESTLAKE COL which LEGE, Laguna Beach, Calif. writer— her Moon Ride was recorded date at Pep's. Joe Williams and Hsnj recen by Chris Connor . . . Max Roach and Edison, Slide Hampton, and 1-ambm group WHERE TO GO John Coltrane have signed with Impulse, Hendricks-Ross also played the roon work) the jazz label of ABC-Paramount. Col­ recently. group WEST trane's album already has been cut . . . Stan Kenton opened the Lambertvdk Hii *« John Lewis* next Atlantic record will Music Circus jazz scries with a thn* lighthouw AH-Ston Milw. THE LlGHmOUS! feature the pianist with groups of differ­ day date marred by bad weather Chica ent sizes. Trumpeter Marvin Stam joined the ban. Wind Roulette will soon release new albums the day after his graduation from Nord Smith by Joe Williams with , and Texas State College . . . Nelson Boyd few y William Russo a special package, The Birdland Story, a former Charlie Parker bass m«1 try, ' ('•mpMtng tor the Java Orchestra booklet by Leonard Feather, music by joined Billy Root’s group playing bad Socie ground music for the Neighborhood A complete correspondence course. Taught such as Harry Belafonte, John Coltrane, him i nt th. Manhattan School of Music and Miles Davis, Dizzy Gillespie, Max Playhouse date of The Connection­ Pi< the School of Jaxx. Lenox Maas. Roach, Charlie Parker, and Stan Getz. Root played a jazz concert at th< Idb .17E5 Blackstone Ave. N.Y. BS, N.Y. Bob Hope has taken full-page ads in Ho motel and also lined up concerts ■ Busk most of the trade papers asking distribu- Pennsylvania Military College, Oceo DOWN BEAT City. N. J., and in New Hope . . . cago last month. They are now working ipcM i a voci Peiffer continues at Berne’s at the Riviera in Las Vegas, Nev. en by piany Woodland‘ Inn in Abington, and Red Franz Jackson’s Original Jass All­ analyzed ha Rodaej is a holdover at the Under- Stars had a brief whirl in the political ■ some hope yuund. scene last month—the traditional group Recently, k played for a state legislators' banquet in injury. His CHICAGO Springfield, the Illinois state capital. aid. Musicians in both Chicago locals lilt'd record news were saddened by the death of drummer LOS ANGELES Y»ll •m I ngland gwhty Smith last month. Smith, who The much-heralded new jazz pro­ on of Boa suffered severe bums last winter when gram at Capitol Records died aborning. de a direct his clothes caught fire while he worked A big name based in New York was lunger men- on his car. collapsed a few days before sought as the first contractee but the pecially p». his death Cause of death was unknown deal fell through and sank the entire ish traditi» at press time. During his career. Smith project . . . That “leading independent” be NUBASO worked with most of the Chicago jazz­ label that was due to close shop (DB, > as Hoots« men, both modem and traditional. June 8) was saved by the bell—and th the public When the Dukes of Dixieland opened three single hit records. Now it’s got r ed it all n at the Empire Room of the Palmer a new lease on life. That’s disc biz . . . RogETA & Moleha. House last month, they unveiled a new Drummer Mel Lewis will leave the ual billing to rhythm section — Gene Schroeder, Gerry Mulligan band after a final date piano; Jim Atlas, bass; George Wettling, at Randall’s Island, N. Y. After a year SWIV-O-MATIC® the off», drums. At the group’s opening, a dis­ with the baritonist, Lewis takes up FOOT PEDAL? It’s revolutionary. And blish Geap consolate observer remarked, “Wettling where he left off in Hollywood. the revolution's in your favor! Drummers tell Ufa 'the fastest pedal I’ve ever KZ this fZ with the Dukes is like Babe Ruth with Pianist Joe Castro moved to New played' ... 'no more tired feet*... er compar the Boston Bees” ... Al Hirt, another York and plans to live there a while 'adjusts ¡ust the way I want it*. No other : jazz field, product of the Crescent City, brings his . . . Concerts, Inc., has set the Mary pedal has as many needed features. e about Ac brand of jazz to the staid environs of Trio and the for Adjusts exactly to you so you play with Kaye Four Freshmen half the effort. Try it at your dealer’s i Shih aha the Edgewater Beach hotel the first concerts at the Waikiki Shell in Hono­ this week arly modem week of August. lulu, Hawaii, Aug. 19 and 20. The ill cover the The Count Basie band roared through promotional outfit took over the annual and worth more author In »39.50 a week at the Tivoli last month. Dixieland night at the Hollywood Bowl available with straight (395R) and hinged he 1920s. Lambert-Hendricks-Ross and comedian this year from promoters Gene Norman (396R) footboard Redd Foxx were on hand, too. The and Frank Bull. Pete Fountain, the Write for 84-poge catalog, Rogers Drums, Basie hand also played a relaxed two- Dukes of Dixieland, and others are set 740 Bolivar, Cleveland 15, Ohio. nue to foul nighter at a north-side night club. One for the two-beat event there Sept. 9 PERENNIAL POLL WINNER »ahudor «■ of the new faces in the band is that of . . . Richard (Groove) Holmes assumed lis Steel Pier trombonist Quentin Jackson .. Former ihe organ bench at the Black Orchid for Paul Ch» MILES DAVIS Basieites singer Joe Williams, trumpeter an indefinite stay since the folding of tor his Shew Hany Edison, tenorist Billy Mitchell, Geno’s Bit. The Orchid also features Miles Dsfi PLAYS and trombonist Al Grey played a one- a Sunday morning session from 6:30 MARTIN m. Other re­ weekei at the Tivoli shortly after the to 11 a.m. ns included Count and company departed. The jazz-and-religion twist traveled r (billed a Bassist Johnny Pate is leaving As- full circle recently when the Rev. A PRODUCT OF n. weiated Booking Corp, to go back into Samuel Heyliager, for 27 years head of Richards ug business Hollywood’s Church of Spiritual Revela­ music full time. He intends to do free­ Music Corp. late. Sod lance recording (both a&r-ing and tion, led a jazz group and worshipers oking at the Elkhart, Ind. playing) and concentrate on writing. in prayer on a Sunday morning at the .ene Krap There is a possibility that he will revive Cloister nitery on Sunset Strip. The red . . & his trio .. . The Gate of Hom has in­ bar was closed during the service . . . s. who kt stituted a Monday “Omnibus” with Billy Eckstine switched from the Las join Wood? Studs Terkel as host. Plans call for the Vegas Dunes lounge to the Flamingo’s am the Byt use of every kind of act having some for 16 weeks during ¡962. He’s been \ on trumpet entertainment value .. . The Sutherland, doing tumaway business at the former the band’s which has used local trios to no avail hotel, where he worked backed by an » and Hai} recently, may switch back to a name- unusual, fine eight-piece jazz group . . . id Lambcn* group policy. Ira Sullivan’s Quintet And swinging Kay Stevens returned JAZZ STUDIES d the nxn worked the club the week before the June 1 to Vegas’ Riviera lounge for in a COLLEGE OF MUSIC group played the Indiana Jazz Festival. three months. Lambertvilk Historian-writer John Steiner brought Jazz pioneer Artie Schutt may be special classes in arranging and ith a Ihrs chord substitution Milwaukee trumpeter Jabbo Smith to heard these evenings playing intermis­ id weather Chicago for a weekend session with sion piano at Jim’s Roaring ’20s in the private instruction in all instruments led rhe ban Windy City musicians last month. Downey Wonder-Bowl (that’s a bowling and voice from Noè Smith, inactive in music for the last alley). In the same room, clarinetist DANCE BAND • JAZZ WORKSHOP ebon Bovi few years, is contemplating a comeback Johnny lame added trumpeter Wild basi mar For information, write: by Members of the Milwaukee Jazz Bill Davison to the band and said he laying bad Society and others are ready to help plans to bring in Muggsy Spanier soon Special Student Department righborbood him if he decides to attempt it. . . . Hank Mancini took off for Hawaii Connection NEW ENGLAND CONSERVATORY Pianist Audrey Morris and bassist on the first leg of a promotional tour at the Tali' 290 Huntington Avenue Stu Genovese, partners in marriage and for his publishing firm, Northridge concerts d Boston 15, Massachusetts music, left the London House and Chi­ Music. He is extending the trip to in- ege, Oo*r July 20. 1961 elude Mexico, Argentina, Venezuela, Lewarke returns to LA Aug. 17 q, Guatemala, Nicaragua, Costa Rica, and leave of absence from the jazz record Panama where Peter Gunn is now being distributing outfit headquartered in Lo®. shown on South American television. don, England. Lewarke leaves ft It’s already seen on the tube in Japan, Michel as director at headquarters, with Hong Kong, Thailand, the Philippines, Ron Kass running things at the firm’, Australia, and Bermuda. Italian-Swiss branch and Alan B*» Dixie lovers in the Pomona Valley area taking over the new office in Paris. may now’ dig John Henderson’s Dixie Disc jockeys, television personalities Rebels at Bill Bacin’s Storyville in and night-club performers have named ciîjxric-s Montclair Tenor man Vince Wal- July as Jimmy McHugh Month, during lace moved into Newport Beach’s Blue which they will program and perform Beet with Jim Murphy on piano. Mark tunes by the famed songwriter. This THE STAN KENTON Proctor, bass; Bill Schwemmer, drums. marks the first time a noted songwntr Fridays and Saturdays with Sunday has been paid such tribute by perfonn* CLINICS, THAT IS. sessions from 5 p.m. Interdisc’s Jack ers internationally.

AT SOUTHERN METHODIST UNI­ i.asy St.: Wirk Frigo, tin Gate ol Hom- Odetta to 7/9. Terrim, 7/U-M VERSITY (JULY 23-29); MICHIGAN Stud* 1 erkel, Mon. STATE UNIVERSITY (JULY 30- Hey Rubi Steve Behr, tfn. Italian Village. Ron Drumm, tfn AUG. 5); INDIANA UNIVERSITY The following is a listing by urban area Im, Ltd. Rill Reinhardt, Jo Headmen, th. (AUG. 6-12) of jazz performers, where and when they Franz Jackson, Thur*. are appearing. The listing is subject to London House. Marina McPartland to 7/9, Un* Petri-on. 7/1 l-S/6. Eddie Higgins hb. For complete information without obligation change without notice. Send information Mis« > Kelly’s June Valli to 7/9. Marty Nab» to Down Beat, 205 W. Monroe, Chicago Mein, Dick Marx-John Frigo, hbs NATIONAL BAND CAM*. INC. 'not tar profit' Pigalle: Loriean Hunter, tfn BOX 221, SOUTH BEND, INDIAN* 6, Ill., six weeks prior to cover date. Red Arrow: Irani Jackson, winds. LEGEND: —house band: —till Scotch Mist Tom Ponce, tfn hb tfn Sutherland: Ira Sullivan, Tues. NAME. further notice: unk—unknown at press I OS ANGELES time: wknds—weekends. ADDRESS. Beverly Cavern; Teddy Buckner. tfn. Black Bull Gus Bivona, tfn tfn. JONE. NEW YORK Black Orchid: Richard (Groove) Holme*, I CITY. Basin Street East- Closed to 8.'20 Blue Beet Vince Wallace, wknds. Birdland: . Slide Humpuiu. to 7/12 Digger: Name grp*, wknds. STATL AGL Maynard Fergt>son, Olatunji, 7/13-19. Olatunji, Encore: Big Miller, tfn. Bobby Troup. wknd*. Jazztet. ’’/20-8/2. Green Bull: Johnny Luca*, wknds INSTRUMENT------Bon Air. lodge (N.J.) Sol Fbch to 8/31. Hob Nob ■ Azusa): 1 oren Dexter, tfn. Condon’s: unk. Holiday House (Malibu): Betty Bryant, wknds. i C CHECK IF MUSIC EDUCATOR Copa City: Jimmy Witherspoon. Red Garland- Honeybucket South Frisco Jan Band. tfn. Philly Joe Jones, to 7/9. Hermosa Inn: The Saint-, wknds Embers: Henry (Red) Allen, Peter Nero, to 7/15. Jimmie Diamond’« (San Bernardino): Edgar Mow, Henry (Red) Allen, 7/17-29. Five Spot- Barry Harris. Dave Pike, tentative to Jim’s Roaring ’20s (Downey): Johnny Lam, 8/31. BUI Davison, tfn. Half Note. Toshiko-Charlie Mariano to 7/16. Knotty Pine Associates, wknds. Herbie Mann, 7/18-8/6. Lc Crazy Horse: Ha Beck, tfn. Hickory House Don Shirley, t/n. Le Grand (theater): Sun morning after-1 Jazz Gallery: ihiloniou- Monk to 7/31 Metropole: Sol Yaged. Cozy Cole. tfn. Upstairs: lighthouse: Howard Rumvet. Gene Krupa, Cozy Cole to 7/31. Sun. Nick’s: unk. Lococo's (Manhattan Beach): StuB mbMH Roundtable: Closed to 7/31 Stewart, Sun. Ryan’s: Wilbur DeParis to 7/31. Melody Room: Ronnie Brown; Tito Hlwra, >1 One Sheridan Square: All-summer folk-song Maxie’s: Shill Smith-Rea Stewart; lulvraadaa festival. Versaiies: unk Nickelodeon: Sunset Jazz Band, wknds Village Gate: Parisian Room Jest Stacy, tfn. John Coltrane. 7/11-23. PJ’s: Eddie Cano, Mon Village Vanguard Miles Davb to 7/9. Canuun- Renaissance Curtis Amy to 6/30. RrwM (MMh PLAYS CONN ball Adderley. 7/11-16. Gospel Pearts, Sun. Rosie’s Red Banjo: Art Lesin, tfn. WASHINGTON Kumble Seat: Dr. Jack Langle- tfn. Abart’s: Art Blakey. 7/4-v Jimmy Smith. 7/11-16. Sheraton West. Cal Gooden, tfn. CLARINET Montgomery Bro*. 7/18-23. Sherry’s Claude Williamson, tfn. Cafe Lounge Malachi-I abriztai-Hodgsou. tfn. Shelly’s Manne-Hole. Shelly Manne, hh, wkadli Discover the Charles Hotel I ounge: Booker Coleman, tfn. Helen Humes, wknds. Frank RottoHne, Moa.. RSk Show boat Charlie Byrd, tfn Tues. Russ Freeman-Richie Kamura, WM reason why at Underground; Bill Harri* (guitar), tfn. ledd) Idw arils. Thurs DETROIT Storyville John Henderson. Dixie Reixb, (M ^our Conn dealer's Town Hill: Mon session*. Au Sabie Jack Brokensha, tfn. Zebra Lounge Nina Simone. Jay Migtori, M Baker’s Keyboard Bobby Short. 7/10-7/22. morning sessions. Drome. Dorothy Ashby, tfn. Empire: Red Nichol* to 7/15. SAN FRANCISCO Flame: Dinah Washington to 7/9. Black Hawk Cal Ijadcr opens 7/11. Kevin House Bill Richards, tfn. Black Sheep Fail Hines, Joe Sullivan, tfn. I Mermaid’s Cave Eddie Bartel, tfn. On-the-Levee: Kid Ory, Fri., Sat. Presents Minor Key Lambert-Hendricks-Ro» to 7/9. Gene Pier 23: Burt Bale*, tfn. Ammons, 7/11-7/16. Earthquake McGoon’s: Turk Murphy, Ps* *•* Roostertail: BobU) Hackett to 7/16. kee, tfn. t Tami Ami: Boarboa Street Panders, tfn. Dante’s Inferno Richie Crabtree, tfn. NEW ORLEANS Stereo Club: -Atlee VtapanA WM ■ Cosimo’s Nat PvrriULal, wknds. hun. y 1: Claaey Brothers, Dick Gregory, to 11» Dan’s Pier 600: Al Hirt, tfn. Other Room Frank D’Rone tv 7/12. Dream Room: Santo Pecon, hb Famous Doot Murphy Campo, Mike Lala. tfn. JAZZ FESTIXALS French Quarter Inn. Pete Fountain. tfn. Virginia Beach (Virginia Beach. Va.): 7/iHN Joe Burton's: Joe Burton, tfn (two performances). . M Joy Tavern: Alvin Tyler, wknds. Buffahi (N.Y): 7/28-30 (thret I onnaneeQ. J Paddock: Octave Crosby, tfn. American (Detroit. Mich.): 8/4-6 (three P*'"^ Prince Conti (motel): Amand Hug. tfn. ances). . . -.1 Vernon’*: Melvin Lastee, wknd*. Saugatuck (Mich.): 8/11-12 (two perfonnrtlt;^| ♦ WWTf FOR CHICAGO Randall < Island (New York City): 8/25-27 (th»« CATALOS performance*) .... __J Alhambra: Ahmad Jamal, tfn. Indiana State Fair (Indtanapoliv): 9/1 (co* Birdhouse Lennie I'ristauo to 7/9. Ramsey Lewi*, formance). . ■ SUPRO & NATIONAL GUITARS 7/19-30 Gold Coart Jau Band, Mon. Tues. Atlantic City (N. J.): 9/2 tone perfomianc*). ■ Black Eyed Pea: Pat Manago, tfn. Monterey (Monterey. Calif ): 9/22-24 (five MH CHICAGO 51 Bourbon St.' Bob Scobey, Art Hoden, tfn Cafe Continental- Dave Remington. tfn formance*) ^9 DOWN BEAT Ig- 17 OB recori ed in Lob. eaves Ed rkrs Lvjti, the firm’i

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.’tninlKM). “ glow w th a fimsh ot purest gold. Light as a three pert« A I breeze at eventide. A matchles t erform*»« a golden instrument with a flawless tone. This 8/25-27 «h is the "Golden Horn." This is -Leblanc crafts 9/i (on* a manship- the ¿esu11 of a dedication to créa >iianc»X bve excellence the marK that Sets all Leblanc 3 musical instruments apart from others.

G. LEBLANC C That special sound is from Johnny Smith’s guitar and the listening is easy ... easy, exciting a deeply moving. Johnny is a musician with a creative sensitivity which deepens and enriches 1 music he plays... and dramatically communicates his feelings to the listener. The Johnny Smi sound was first heard in New England, it soon reached New York and ranged from the Ed Sulliv Show to the Dave Garroway Show to appearances with Dmitri Metropolis. Johnny has also ma many hit records, including Moonlight in Vermont, “the best jazz recording in 1953“... h played and arranged for Benny Goodman and Frances Langford ... and worked the “big” sp< across the country including Storyville, Birdland, The Blue Note and The Embers. But John Smith’s quest for expression did not end with a sound, it extended to a guitar... a treason Gibson*. This dynamically different instrument offers the rounded, balanced, resonant tones well as brilliant sustain, fast action and easy handling that are truly

easy listenin ohnnu Smit

•The all-new Gibion electric acoutlic “Johnny Smith Model'