1927 -1940." Columbia C3L 27, $11.96
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"Americans in Europe, Vol. I and Vol. Georgie Auld returns to the recording delights. His writing stands like a beacon 2." Impulse 36/37, $4.98 each (LP); studio with a strongly rhythmic little of honest light in the murky, appallingly S 36/37, $4.98 each (SD). group: Lou Levy, piano; Leroy Vinnegar, self- satisfied, and often asinine prose It's no secret that jazz has spread to bass; Mel Lewis, drums; Frank Rosolino, generally found on jazz disc liners. The almost every corner of the world. But trombone. They play with a simplicity music is played by Desmond, who de- the extent to which American jazz musi- and directness rare in contemporary scribes himself as "this saxophone play- cians have followed the music and set- jazz. Auld gets almost all the solo space, er from the Dave Brubeck Quartet"; tled permanently in foreign countries has except for a few brief appearances by Jim Hall, guitar; Gene Cherico and not been quite so well publicized. These Rosolino and Levy, but he never in- (on one number) Gene Wright, bass; two discs, taken from a concert held in dulges in pointless marathons. All but and Connie Kay, drums. The program Koblenz, Germany, in January 1963, one of the tunes are familiar standards is divided between what Desmond calls not only spotlight the number of Ameri- which Auld. Rosolino, and the rhythm "bossa antigua" and normal jazz (in- can jazzmen scattered throughout section approach with geniality and with cluding Take Ten, a variant on his Europe, but remind us of the level of an obvious respect for the original mel- popular Take Five). It is calm, polished, the talent that has been withdrawn from ody. There is still a great deal of the self- possessed music in which Desmond the United States. Twenty Americans sound and phrasing of Lester Young in plays with a mellowness falling some- are represented here, summoned to Auld's willowy saxophone when he plays where between his more inspired mo- Koblenz by the organizer of the concert, at a moderately fast tempo. On slow ments with Brubeck and his emptier Joachim Ernst Berendt. They came from ballads he moves very effectively into moments with same. His work is pleas- Stockholm, Copenhagen, Amsterdam, a heavier. breath -tinged vein. Rosolino ant and amiable but never gripping; in Cologne, Berlin, Munich, Paris. Rome, is an agile and perceptive foil in pro- fact. Hall actually outdoes him at the and Zurich. Among them are one of the viding trombone fills for Auld's easily floating lyricism one would have thought great New Orleans clarinetists, Albert flowing lines. to be his strongest point. Still, I have Nicholas; two of the men who influ- only the deepest admiration for anyone enced the development of bop in the Buddy De Franco and Tommy Gumina: who handles words as deftly as Desmond early Forties, Kenny Clarke and Bud "Polytones." Mercury 20833, $3.98 and also plays even a moderately good Powell; a pair of major saxophonists, (LP); 60833. $4.98 (SD). saxophone. And he is considerably bet- Don Byas and Herb Geller; and a bril- The seemingly unlikely team of clarinet- ter than moderately good. This disc. one liant blues singer, Champion Jack ist Buddy De Franco and accordionist way and another, leaves one in a Dupree. The high points of the concert Tommy Gumina is continuing to grow pleasant glow. are concentrated mostly in Volume 2. and flourish. Here they have left far There is a rollicking performance by a behind the customary format of most Duke Ellington: "The Ellington Era: group billed as "The Traditional Ameri- groups (introductory ensemble, long 1927-1940." Columbia C3L 27, $11.96 cans in Europe." led by the onetime solos, closing ensemble). and have ob- (Three LP). Ellington trumpeter Nelson Williams; it viously expended care. thought. and in- The years from 1927 to 1940 encompass is more of an out- and -out swing group telligent invention in preparing their ma- the period when Duke Ellington was than its name might indicate, although terial. Their ventures into polytonality making his reputation as one of the most some of its best moments are the stride broaden the color potentialities of the original talents in jazz. During that piano contributions of Earle Howard, a two instruments. and Gumina's "ac- time almost all of his recording affilia- hitherto uncelebrated Fats Waller pro- cordio- organ" adds a touch of cathedral - tions were with companies now part of tégé. There is also a beautifully devel- like tone quality. The color possibilities the Columbia complex (except for some oped treatment of I Remember Clifford are admirably used in developing the brief spells with Victor). As a result, by Byas, and a delightfully free and selections. De Franco has always been this three -disc set. issued as part of easy bit of singing, talking, and piano a brilliant technician; Gumina is a Columbia's admirable jazz reissue proj- playing by Dupree. Nicholas, who plays highly complementary colleague who ect under the guidance of Frank Driggs with the Traditional Americans and also contributes a fire and intensity rarely and John Hammond, is drawn from most at the head of a quartet, is disappoint- produced by De Franco on his own. of Ellington's recorded work during ingly thin and routine. A large portion of Their playing is original and stimulating, those thirteen eventful years. The pos- Volume 1 is devoted to glib perform- and demonstrates in a gratifying way sibilities are numerous, and it is in- ances by Kenny Clarke's trio (Lou that there are new directions to be evitable that many things must be omit- Bennett on organ and Jimmy Gourley explored in jazz which involve neither ted that somebody is bound to feel on guitar contribute the glibness) and grotesqueness for its own sake nor a should have been included. Driggs has the Bill Smith Quintet (Herb Geller, complete departure from the distinctive marked this album "Volume One," so however, brings this group to life in tenets of jazz. without quibbling about what is left his solo spots). But this disc also includes out, one can only relish the brilliant a slow, ruminative treatment of 'Round Paul Desmond: "Take Ten." RCA Victor succession of performances accounted Midnight by Bud Powell that proves to LPM 2569, $3.98 (LP); LSP 2569, for here. There are, of course, the early be one of the best recordings he has $4.98 (SD). Ellington classics-East St. Louis Toodle- made in many years. Paul Desmond. a singularly sophisticated Oo, Black and Tan Fantasy, The Mooch, and witty jazz musician, has -by some and Mood Indigo. Of even more in- Georgie Auld Quintet: "Plays the Win- stroke of genius -been called upon to terest are items that have not been ners." Philips 200096, $3.98 (LP); write the commentary on this album. readily available for years, such as 600096, $4.98 (SD). He has produced a brilliant essay full Echoes of Harlem, Clarinet Lament, Boy After several years of relative inactivity, of humor, that informs even while it Meets Horn, Rose of the Rio Grande DECEMBER 1963 107 www.americanradiohistory.com.