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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 jazz 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 *<rtistic judgment | become another forgotten chapter in does a promoter's desire to make money To appeal to such an audience, it 1 the history of American show business? constitute such an idea. necessary to have some sort of irthj KL 28. No. It is not merely idealistic to say that Jazz, whether those whose music purpose, and it is abundantly dear th] those that deserve to survive probably business thinking is geared to the ’940s the old Newport festival collapsedli will survive. There is nothing idealistic can see it or not, today has more in chaos precisely because of the lacy] about Darwinian natural selection: common with other forms of art music inner purpose. (There are signs th] those creatures that are strong and than it has with popular music. The the new Newport may be different) | suited to conditions make it; the others audience is an art music audience, with Not all jazz festivals have been IlJ rantly and exclusively commercial. ¡3 modest festival staged at Virginia E ] by musician Tommy Gwaltney hl turned out to be a credit to jazz.' In the past few years, the (estival tha has set the pace has b'en Monterr' Not that it has been pertect. But it hl been apparent from the beginning i J the organizers and directors of J cresceH^ event have had an esthetic tarposJ have sought to p esent jazz for the p J pose of enhancing jazz. A very specific idea will infuse thi DEPART year’s Monterey festival. EllingtoJ 4 The E< Members of the Ellington band wil f Chords perform on opening night The follow 19 Strictly ing afterr oon is being referred to a 30 Clinicia “Ellington carte blanche” — becauR Duke has been told tc do whatever h ti Record feels like doing. This is a kind of e thetic freedon that comes all too rarel ON THE to jazz ’»lists. On the afternoon of the festival closing day, Monterey will preset Dizzy Gillespie witn his quintet and big band. For those who have n?w heard Gillespie with a big band—an THINGS there are those among his partisans wh claim that this is where he is at h supreme best—it will be a rare oppa tunity to hear Gillespie in a fitting sa crit ting When festivals offer such pn grams as this, then they are fulfilling STAFF : John function—the function of maxing laafnig Edit NekiMon, Pn possible for the jazz lovers to bea Ui Tynan ( things he would otherwise be unab MSm: Charl< to hear. This is an entirely differei . thing from jamming a bunch of artis Mm«; Henr together on a program allowing insufl cient time even to warm up propri OfflCES. 205 illuni Si This is purposiveness in a iesuva M*; «2S9 Se *■* Sale«. Patented There arc signs thai the lesson of Moi I** la US A terey is spreading. Evansville, for e 1 ot John ample, presented Ellington on tw tritoin rn EOSOUiND * ». We conr nights, as well as a special Gospel pn UMi «Il tire gram organized by Gary Knime ECHO CHAMBER AMPLIFIER rai« Evansville shows indications of becon •"•or wbicrii * • Pai« ori ing another thoroughly purposive fe •• avi» noi ** ho «ani u EXCLUSIVE DIS^R BU^OR tival. RADIO A TELEVISION Indeed, there are signs—albeit earl EQUIPMENT COMPANY ones— that all rhe festivals arc puffin 2118 SOUTH MAIN STREET MAHER P SANTA ANA. CALIFORNIA up their socks. Let’s hope so. S DOWN BEAT >e: On Newsstand« Throughout Ths «noria, STRAIGHT five r«h >nsidoit TALK ie pro^ FROM TEDDY CHARLES: to bed Everyone I know has tapered off on Igrnent down beat their record buying. After all they’ve lienee,! got a full collection representing their O. 28, No. 15 Readers in 86 Countries JULY 20, 1961 favorite Jazz artists, and most new re­ of arts Japanese Language Edition Published in Tokyo leases are just a rehash of the same old thing. In fact, Mort Fega, famed New sllapsed i York disc-jockey, spelled out this sad CONTENTS state of affairs for me the other night he lack i when he said, “One record after another sign* du 13 Miles Davis ‘Approved’ for Concert sounds exactly alike no matter who the ferenti artist, with the exception of the creative 14 Movies No Lure for Garner few.” I agree completely with Mort, but been I would like to point out that at War­ ercial Tl 14 Film Composers Seek to Revise Oscar Nominations wick we are interested only in the work tinia B ac of these creative iltney k 14 NARAS Elects New Officers few, and as a re­ sult, 1 can call to azz 15 Lightnin’ Hopkins your attention at estival du least two albums Montere that are outstand­ 16 About This Man Brubeck, Part 2 ing in this respect. But it hi Firstly, our recent nning tk 19 Guitar Today—Raney/Harris/Montgomery release “THE rs of di SOUL OF JAZZ 25 Charlie Christian—Six Classic Solos PERCUSSION’’ : parpas 32 Folk Singers—A Primer (Warwick 5003) 27 the pu TEDDY CHARLES, WAR- has been critically WICK JAZZ A A R DI­ acclaimed in publi­ RECTOR. DURING RE­ cation after publi­ infuse th departments CORDING OF PEPPER ADAMS DONALD BYRO cation as the best Fllingta 4 The Editorial 57 The Blindfold Test "OUT OF THIS WORLD" Jazz Stereo record band wi 4 Chords and Discords Caught in the Act (WARWICK 2041) ever made. But be­ he follow yond that, the record presents music of 10 Strictly Ad Lib Book Review Jazz creators of the calibre of Booker Ted to i » Clinician’s Corner Perspectives Little, Pepper Adams, Paul Chambers, - becaui Bill Evans, Philly Joe Jones, Donald hatever i a Record Reviews 70 Where & When Byrd, Curtis Fuller, Ed Shaughnessy, ind of a Addison Farmer, Mal Waldron, Don Ellis, Armando Peraza, etc. playing too rarel ON THE COVER This is Down Beat's annual guitar issue, and David Stone Martin’s highly imaginative works by Waldron, lean musician on the cover symbolizes the entire family of jazz guitarists. Shaughnessy, Tom McIntosh, Lonny i festival On page 19 begins a composite article on three of the most important Levister, Byrd and Bird.