'..l&e occasionally more shadow than sub_stance roast our pup br ethr~n for shamelessly t~ is to be expected, of course, but m the pandering to ba:e musical tastes, for t~eir ,~ The main it holds up well under . repeated pecuniary pursmt_ of the novel, the g1m- .~ playing. Everyone connected with these mick, the cute title, the catchy sound- 1t-l sessions has every reason to be proud, for using anything, in _short, w~ich ~ill ~~ Giants titillate record buyers mto partmg with . for the assignments have been executed 1 their dollars. (It's significant, I think, that ~;ii are still on with taste and professionalism. I for one am delighted to see Montgomery garner it's referred to as "money music" in the 'In such a popular following as these sele~­ aptly-named trade journal Cash Box.) !i PRESTIGE! But when some of our boys engage in ' --- -· ~--------- -·--···-- --- tions have brought him. He deserves . ,t. -Welding the production of music which is similarly :~ contrived, more often than not we either fffi find some means of justifying it or simply 'N lllCEOARITHE CEDAR WIILTON TRIO, QUMH(T i;. auu,rtr KENNYDORHAM, JUNIOR COOt(. lEROY VINNfGAR. Bll.L'f HIGGINS turn our backs on it. H's apparently all Lee Morgan :j '~ DELIGHTFULEE MORGAN-Blue Note 4213/ right when we do it. , 84243, Ca-Lee-So; Zambia;. Yesterday; . Sunrise­ The guys on this record bring a great :'' Sunset· Nite Flite· The Delightful Veggie. deal of expertise and elan to the discharge Pers~nnel: Mo:gan, trumpet; Joe ~endersonh, i: tenor saxophone; McC~y . Tyner, piano; Bo of the business at hand, but what, after Ju Cranshaw bass· Billy H1gg10s, drums. Trackk 3 all is that business but the attempt at .ri & 4 • Mo~gan 'Ernie Rova!. trumpets; Tom c­ Intosh tromb~ne· Jim Buffington, French horn; cr~fting a sample of "soul" music which ·p Phil 'woods, a'!to saxophone, flute; W_ayne will be enough like all other samples of 1 Shorter, tenor saxophone; D~nny Bank, har!ton~ saxophone flute bass clarinet; Tyner, piano, the genre yet will have some slight differ- ,, Cranshaw,' bass; 'Philly Joe Jones, drums. ence-some catchy turn of phrase, sound, i Rating: * * * * * or coy title-that will cause jukebox play. !I From his "enfant terrible" days of a ers or radio record spinners to play this CEDARWALTON/PRESTIGE 7519 decade ago with Dizzy Gillespie to his particular soul piece rather than the count­ thoroughly mature stature today, brazen less others currently available? energy and perpetual emotion have cas­ The music here is neither good nor caded from the bell of Lee Morgan's horn. bad; mostly it's just inoffensive, moves Ca-Lee-So features a loping calypso ac­ pleasantly and doesn't make any demands cent in the theme, with Tyner introducing upon the listener. If he wants to listen to the happy proceedings. Morgan and Hen­ it, he'll hear music with attractive sur­ derson solo succinctly, and Tyner follows faces, good rhythmic interplay and a cer­ with a solo showing his fine flexibility. tain superficial contemporaneity of sound. FOR FREECATALOG SEND TO Zambia is set at an up tempo pace. He'll not find depth or commitment, how­ PRESTIGE Records Inc. After the hea.d, Henderson takes charge, ever, for that's not what this music offers. going on an exhilarating excursion. M?r­ Mostly it's for nonlistening-for talking 203 So. Washirigton Ave. gan sustains the soaring spirit. Followmg over at a club or party, dancing, etc. Bergenfield, New Jersey Tyner's appropriate solo, Morgan and What's saddening about this particular Henderson engage ih jovial eight-bar ex­ set is that the hoped-for commercial suc­ changes. cess probably will not materialize. The Getthe new cymbal sound from For Yesterday and Sunrise, Sunset, music is not all that catchy. Oliver Nelson provides plush orchestral Naturally, there are some tasty mo­ settings to showcase the enthusiastic Mor­ ments-there'd pretty much have to be gan and Shorter. The latter piece contains with musicians of this caliber involved. PASHAiSUPERSONIC especially stirring moments from the But the flowers are scattered over some soloists. thin soil and there aren't that many of On Nite Flite Morgitn impishly teases them. There is one good tune, Ousley's and cajoles with characteristic frenzy, and The Latter Days, which sounds like a Henderson maintains the contagious ex­ piece that might have been performed by citement with throaty chortles and double­ an early Art Blakey group--it's got that stop effects. Tyner, not to be outdone, kind of feeling to it. This is the only dips into his bag of tricks and with the piece that breaks out of the soul mold. The sound today's drummers want. splendid backing of Higgins and Cran­ Superior Turkish type. Compare with Onward and upward! Please? shaw turns in a highly dynamic per­ -Welding the ones that cost twice as much. formance. See your favorite dealer. Deggie is done in a comfortable waltz TROPHYMUSICAL PRODUCTS meter. Henderson, Morgan, and Tyner are adroit in weaving the image and the Various Artists 1278 West 9th Street, Cleveland, Ohio 44113 THE CHICAGOANS (1928-1930)-Decca DL tune swings along in jovial fashion. 9231: Milenberg Joys; My Daddy Rocks Me Spacious, relaxed atmosphere, the bal­ (Husk O'Hare's Footwarmers); There'll Be Some Changes Made; I Found a New J!aby; anced selection of the repertoire, and the Baby, Won't You Please Come Home (Chicago ADIFFERENT KINDOf RECORD CLUB cohesiveness of the performers are the Rhythm Kings); Jazz Me Blues (Frank Tesche· witha SpecialMembership Plan ... macher); Downright Disgusted; Fare Thee W'_elf rewards offered in this album and the Trying to Stop My Crying; Isn't There _a LiCtltb FeaturingJAZZ offerings are true-Lee delightful. Love to Spare (Wingy Manone and his ~ Also,Popular, Folk, Classical, etc. -Johnson Royale Orchestra); Copenhagen; Prince of Wat)ls No purchaseobligations-No list (Elmer Schoehel's Friars Society Orchestra ; pricepurchases. Virtually all labels W ailin' Blues; Barre/house Stomp (The Cellar Boys). w· gy and artists available.Choose from Collective personnel: Muggsy Spamer, 10 catalog of over 25,000 albums. Grassella Oliphant Manone, Dick Feige, cornet; Jack Read, trotn· Writefor freedetails .•• THE GRASS IS GREENER-Atlantic 1494: bone; Frank Teschemacher, Bud Freeman, Mezz Get Out of My Life, Woman; Ain't That Mezzrow, Rod Cless, Wade Foster, Floyd Towne, Peculiar?; Soul Woman; Peaches Are Better George Snurpus, reeds; Joe Sullivan, Art hHodhej• Down the Road; The Yodel; Cantaloupe Wom­ Jack Gardner, Frank Melrose, Elm~r S~ oe e • an: The Latter Days; Rapid Shave. piano; Eddie Condon, banjo; Ray B1ond1, fhbt· Personnel: Clark Terry, trumpet, fluegelhorn, lie Barger, guitar; Jim Lanigan, Jo!'n u ; pocket trumpet; Harold Ousley, tenor saxophone; bass, tuba; Gene Krupa. George_ Wetthng, Aug1 DOWN BEAT/MARCH21 Grant Green, guitar; John Patton, organ; Major Schellange, drums; Red McKenzie, vocal. Holley, bass; Oliphant, drums. Rating:**** PERCUSSIONISSUE Rating:** Justly, this album is subtitled "Frank ON SALEMARCH 7 What's sauce for the goose ought, of Teschemacher His Influence." The name course, to be sauce for the gander. We of Teschemacher may mean little or noth- 30 □ DOWN BEAT . g to the current generation of jazz en­ beat it was to keep. thusiasts,JO but to many o Id er f ans, "T esch" Jazz Me is taken from a test pressing as a hero; a legend. His untimely acci­ that miraculously survived an unissued :ental death at 26 in March 1932, a little date featuring an all-reeds-and-rhythm more than six months after that of Bix lineup. The reedmen are Tesch and Rod Beiderbecke, marked the ~nd of an era Cless on clarinets and altos, and Mezz and cut down a great promise. on tenor. Tesch takes alto and clarinet Tesch played the clarinet (and occa­ choruses, both good, and there is a short sional saxophone), and was associated with glimpse of Cless-one of the unsung that talented bunch of yo~ng whit_e Chi­ heroes of the bunch. ca«oans in search of the Jazz grail who Trying and Little Love are sprightly w:re to become known as "The Austin versions of pop tunes, with Manone's New High Gang." On this record, in Decca's Orleans horn and jazz vocals ,to the fore. new reissue series, some of the best in his Tesch has fine solos on both; he impro­ small but significant recorded legacy of vises, especially on the former, and he some 25 sides is once again made avail­ seems relaxed here. There is also a brief able, alongside some oddments of the glimpse of young Art Hodes, who does period which will be gobbled up by col­ very well in the ensembles, and already lectors due to their extreme rarity, though had the makings of a very personal style. they are musically disappointing. One of Tesch's very best solos occurs Tesch is present on all but four of the in the Schoebel Wails; more like his idol, 14 tracks. The Chicago Rhythm Kings Jimmy Noone, than any other he re­ sides are among the most famous of the corded, and very relaxed, flowing, and school, recorded in April and May of rhythmically free. Curiously, this date was 1928. The Cellar Boys session was the last more arranged and organized than the Tesch made, and the final installment in others, but Wettling's good drums and the recorded saga of authentic Chicago Barger's nice guitar moved the beat along Style (they were cut in January 1930). smoothly. Feige's cornet is in a Bix Disputes used to rage among critics as groove, especially on Copenhagen, one of to whether there was such a thing as Chi­ the favorite "jam" tunes of the period.