______wed by Don DeMicheal, Gilbert M. Erskine, Kenny Dorham, Barbara Gardner, Ira Giller, Bill Mathieu, Marian McPartland, Records are reviewed by Don DeMicheal, Gilbert M. Erskine, Kenny Dor ham, Barbara ~- Spring, Pete Welding, and Michael Zwerin. Reviews Dan Morgenstern, Bill Quinn, William Russo, Harvey Siders, Carol Sloane, Edward

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time relaxed jazz with more emphasis on derson is more full-bodied than usual,pos - J. C. Higginbotham sibly because of thesemi -Latin rhythm. HIGGY COMES HOME-Cable KL 126601: the pirit than the letter of the music. The same mixture of Latin phrasing and St. James Infirmary; Indiana; Blue Jay; Sweet The album is available from Cable Georgia Brown; By and B_J.; Dinahi Way Down Charleston prodding make lee Water Yonder in New Orleans; Jingle Betts. records, 4190 Carman Drive N.E., At- Personnel: Dan Havens, trumpet; Higginboth• sound like an extension of Air Waves. In am, trombone, vocal; Bud Freeman, tenor saxo• lanta, Ga. 30305. Would that every ne- terms of production, the tracks should phone; Jimmy Weathers, piano; Bob Rix, electric glected jazz veteran had his Ken Lowen- have been put in a different order. Wil- bass; Ken Lowenstine, drums. stine! -Morgenstern Rating:*** liams' solo is playful but thoroughly mu- This album, recorded last December in sical. Equally playful are the staccato jabs Atlanta, Ga., was the product of a gala Jazz Crusaders by trombone and tenor in the out chorus. UH HUH-Pacific Jazz 20124: Blue Monday; Watts is driven by a jet-propelled tempo homecoming party for veteran trombonist Night Theme; Uh Huh; Air Waves; Ice Water; Higginbotham, arranged by a longtime ad- Watts Happening. . that is obviously to Hooper's liking. He Personnel: Wayne Henderson, trombone; Wflton pushes the group along all the way, spices mirer, interior designer and occasional Felder, tenor saxophone; Joe Sample, piano; drummer Lowenstine. Buster Williams, bass; Stix Hooper, drums. the solos (particularly good are those by It was a fine gesture, and the music Rating:**** Felder and Sample), and brings the track reflects the warm, good spirits prevailing One of the most gratifying things about and the album to a close as if he were at the session (which, incidentally, was this business is being able to hear certain braking a locomotiv . -Siders also televised by a local station). musicians and groups steadily improve. Antonio Carlos Jobim Higginbotham, whose appearances on The Crusaders are a case in point. A A CERTAIN MR. JOBIM-Warner Bros. 1699: record during the past decade have been quintet by choice, a quartet by circum- Bonita· Se Todos Fossem Iguais a Voce; Off-Key stance, the nucleus of Hooper, Henderson, (Desafinado); Photograph; Surfboard; Once Again exceedingly rare, shows signs of nervous- (Outra Vez); I Was Just One More for You ness and is not at the top of his game (I Felder, and Sample are exponents (in (Esperanca Perdida); Estrada Do Sol; Don't Ever had the pleasure of hearing him play ex- Henderson's words) of "gulf coast" jazz. Go Away (Po, Causa De Voce); Zingaro. Personnel: Jobim, vocal, guitar; orchestra ar.. cellently a few months after this record All the Crusaders are from Houston, ranged and conducted by Claus Ogerman. was made), but it is good to hear his Texas. Rating:***½ virile, robust horn, and he shows that They have used various bassists for Before I get to the performances by his exuberance has not diminished since their gigs, concerts, festival appearances, the artists, I want briefly to salute the men the days when he was one of the leading and recordings, but none has given them "behind the scenes." A kind of marriage trombone stylists in jazz and a constant the body, the support, and the venture- of two recording companies took place to poll winner. some bass lines that Williams does. He is produce this very pleasant album, and The big sound is still there, and so is a splendid fifth Crusader. when the result is a product of such fine the swing, directness, and forceful humor The tightness that results from Williams' quality, I believe the individuals respon- of his playing. He is best here on St. presence, as well as the relaxed, straight- sible deserve mention. James (on which he also ventures a dis- ahead swinging, prove that it is possible Warner Bros. borrowed the magnificent arming vocal); on Georgia Brown, and to be tight and relaxed at the same time. Columbia studios (the "church turned on the brief blues, Jay. It also makes for the most exciting Cru- recording studio" cited in the notes). It Tenorist Freeman make a fine contribu- saders session since Chile Con Soul. is obvious that this blending of excellent tion. He is his usual consistent self, and Blue Monday makes intelligent use of a facilities, combined with skilled craftsmen every track save Jay contains swinging front line that is a welcome relief from to use them, functioned beautifully. And samples of his effervescent, flowing style. the conventional trumpet and tenor. Aside there is no heavy-handed abuse of the Trumpeter Havens is a pleasant sur- prise from the hard-driving ensemble playing to a listener who previously had en- echo chamber, thank goodness. The stereo of the theme (which sounds like an exer- mix is of the highest caliber, and even my countered him only in the context of a cise in slow-motion triple-tonguing), the rather raunchy revivalist band, the Boll somewhat humble equipment transmitted solo work sparkles-that of Sample, Wil- total and faithful sound. Weevil Jazz Band. Here, he shows him- liams, and especially Henderson. Sample's self to be a flexible mainstream horn man All the compositions are Jobim's, and comping repeats a figure from the release on some of the tracks he sings . . . in with a nice conception, providing a solid until it takes on the feeling of an ostinato. ensemble lead voice and uncorking a num- Night Theme finds Henderson and Felder English. ber of good solos. His bit on the relaxed a fifth apart, but with a plunger on the To be quite honest, I would have pre- Dinah is especially noteworthy. trombone and the tenor in low register ferred his native Portuguese, with trans- The rhythm section, made up of two the resulting mood results from more tha lations on the cover. To my ears, English local pros and Lowenstine, is not a very mere interval. is an abrasive language when applied to strong one. The drummer, underrecorded, Hooper has written a beautifully haunt- the soft, subtle bossa nova. But this is a keeps adequate time, but the beat of the ing theme, and Sample's expansive solo minor point. Jobim is no great shakes as amplified bassist is watery, and pianist work, with his wide-open voicings, retains a singer (few composers are), but his Weathers, who plays in a rather glib the nocturnal atmosphere; some clever rough, untrained voice does add a certain modern style, frequently gets in Higgin- interplay can be found in the doodlings of poignant touch. botham's way. (During Higgy's third I am especially partial to Off Key be- Hooper and Sample behind Williams' cello- 11 chorus on Brown, the section seems to cause it is an accurate translation, and the like meanderings. 1 disappear entirely.) Forget about the title tune; it's not )yric is sophisticated and charming. The j But it would be inappropriate to quibble really worthy of inclusion in this other- ms rumental tracks are neatly interspersed, about a venture such as this. It was an which allows for a relaxed bit of diversion ii wise fine collection. Air Wares, a down-to. act of love, and such acts are rare and earth theme , ritten by Sample and given when listening. praiseworthy. Higgy's old fans will want a relaxe unison treatment, provides a I am impressed once again with the this record, as will Freeman enthusiasts, good v Iucle f?r Felder's bop-edged tenor. ar a.ngements of Ogerman; especially his - and all listeners who are fond of good- Sample s compmg behind Felder and Hen- •bil,ty to orrhostmt, lo, striogs. Ono rdof• 28 0 DOWN BEAT