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Jazz Rhythm & Blues

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Jazz Rhythm & Blues S, 1952 Chicago« November 5« 1952 RECORD REVIEWS DOWN BEAT has several records around on it, doesn’t trying to sound like a blue i, and i runmy, six originals by Monk, one standard »rd measure up as a big winner, draws a that’s the way Woody sings it. The iGt ’shwin), mid Suburban Eyes, which warm, intimately styled reading from band, luckily, gets in a few powerful it Ike Quebec’s version of All God’s Children Got Rhythm. Fire Jon. Norm Leyden hacks her with a punches, and there’s some fine work by pair of tasty studio orch accompaniments. the unbilled trombonist, Urby Green. Personnel includes Milt Jackson, Sahib t off an- (Decca 28426.) Ironic that after all the fuss about Capi­ Shihab, Idresse Suliman, Art Blakey et this one. tol’s failure to give Woody’“« sidemen al (Al McKibbon, of course). (Blue {ambone; Sarah Yaughan due credit on its recent reissues, Woody Note IP 5009. I by Hank «*** Mighty Lonesome Feeling doesn’t even do it himself with his own the coun- record company! (Mars 100.) George Wallington by Pnul ♦H Sinner Or Saint Sarah blends voices with the Percy **♦* Love Beat man Lu- o+irk Red. R kite A Blue Puddin’ Faith choii to »tart out the Sammy Lrt Hode* pseudo- Gallop ballad effictively She «rets just Jug Head Boogie New sound*, new sounds! Love Beat ’t awing. a little too cute toward the end, other­ Jack Daily Blue» has Chuck Wayne playing the comely >in while wise it’s one of her better recent effort« Bluet ‘N* Boose melody on a mandola, which sounds like musically and commercially. Sinner is Feelin At Eate Pettiford’s pizzicato cello, slightly high­ a new ballad by Irving (Be Anything} Careless Love er. Coupling is a trio side by Walling­ Gordon. Conventional. (Columbia 39873.) Low Down Bluet ton, Mingus and Roach. With the de­ ina Bluet For Jelly fection of Bud Powell from the active ranks, Wallington may well inherit his Margaret W hiring K. M. H. Drag Album rating: mantle as the # 1 bop pianist. Despite *** Outside Of Hearm uld have the synthetic nag-waving emotes, this *** (lone Together Threr of these numbers were not pre­ : by the viously issued, which will doubtless be is an exciting, intensely swinging aide a a truly Maggie, who hasn’t been heard from m interesting news to Hodes collectors. The (Prestige 788.) forceful some time, is in fine voice for her latest best sides are Lou Down und Jug Htwl. a warm, coupling. Heaven, a promising n«w Tin recorded in April, 1944), thanks to the Bett Webster ! it en Pan Alley product, is treated in typicui presence of guitarist Jimmy Shirley. *»* King's Riff standout Whiting fashion—straight Hinging, song Others sprinkled through thes«. sides *** Old Folki tches his salesmanship, n minimum of tricks- To­ include Max Kaminsky, Albert Nicholas, Two more sides from the You’rt My the song nether, the fine oldie, is handled with a Omer Simeon, Sandy Williams and Baby bit more drama, is set in a stirring Latin- Thrill date, with Maynard Ferguaon play­ tod. It’s Dodds. When you come down tn essen­ ing surprisingly well on Riff, which also a trifle designed background provided foi Maggie tials, there’s only 12 bars of music in the has some fail Webster tenor, Gerry Wig by her husband, Lou Busch, (Capitol ead, but whoh LP, but tney sure repeat it plenty gins’ piano and Benny Carter’s excellent ne that, 2217.) of times, (Blue Note LP 7021.) ut off-mike alto. (King in the title is y in co> Benny’s nickname.) Old Folks, which the ; n syn- Victor Young Illinois Jacquet label accredits to Robison Willard (no re i strong- ** Look Ahead Neighbor ***** Port Of Rico lation to Robeson Paul) is Ben in his se of a ** All American Rainbou ♦*♦ Somewhere flong The Way soulful mood, but it’s by no means an­ thinner A couple of fairly routine patriotic dit­ Count Basie seems to be making hits other Thrill. (Mercury 8298.) sings it ties receive befitting rousing treatment for everybody except himself First it ) from Young, whose abilitie* are far und STILL RIDING HIGH with her big solo was the Paul Quinichetto sides for which away too great for him to be toying with hit» You Belong To Me and Jambalaya. he sat in so hucci ssfully. Now it’s Illi­ nois Jacquet, for whom the Count’s Ham­ material that should be left to lesser tal­ Jo Stafford is currently gaining more rec­ RHYTHM & BLUES ent despite the fact that he wrote Rain­ ord momentum through her newly fivc- mond »rgan, teamed with Jacouet’s tenor bow. (Decca 28423.) »tarred duet release with Frankie Laine. at its tastiest, turns Port Of Rico into Records in th»« section are reviewed Piece A-Puddin'. Says Jo: Hail Columbia! one of thnsi rare products that can bo and rilled in terms of broad aeneral back in called delightfully simple and simply appeal. If they are of interest from li-mickey delightful. It’s nothing but an Hd lib the musical standpoint, they are marked to this collation of piano solos with ng adds blues, and, in this particular genre, it’s with u shrup (#), or, if exceptionally JAZZ rhythm. The choice of tunes is as esti­ n’ while one in a hundred. The ballad overleaf is interesting, a double sharp (##). 10 figure Recurd- in thi» »ection are reviewed mable as their interpretation; the rhythm, handled adequately but it definitely the ■ntal. and rated in term« of their muxicnl on the upper tempos, has the >urprise minor side of this disc. (Mercury 89001.) merit. advantage of a snare drum supplementing Paul Baacomb the bongos, creating a smoother heat. Bibbi Johnson-Thore Swanerud Although these are essentially jazz ** Mumbles Blues ♦ ** How High The Moon irk Nona Gtuic Bellson performances they are also a high grade of cocktail-piano music, and as such will left Tout De Suite Mumbles is a fair vo< ul blues about The Jeep Jumpin' G sene the same background purpose-; for Waxed in Sept. 1949, before she came a girl with diction trouble* Nona is a Patsion Flower ix blurs which so many piano LPs are designed. here from Sweden and cut her name to Sam Lowe instrumental which Bascomb Punkin* coupled The last title, by the way, is Rubinstein’s Bibi Johns, Moon features Bibi in a first cut when he was in the Erskine Haw­ Inch the Johnny Come I ately Melody In F, Hazel-Scotted up very ac­ Imp in-oired vocal so different from Ella’s kins band in 1940. (Mercury 8299.) absent. Eyes ceptably. (Capitol H-332.) that it’s obvious she hadn’t heard the Rainbow Fitzgerald version at the time. Her Sticks # irnett Cobb silky tones and wide range, combined Shadow» Bill Davis * •* Someone To R atch Over Me Album ruling: **** *** Alexandria, Ya. with an unusually legato approach to bh The Shy One •** Ooh-Ah-De-De-De bop singing, make this an interesting For this session, sponsored by Gene curiosity. The coupling is an instru­ The Gershwin ballad gets u slow run­ Norman, two nor-Ellingtonians (Wardell The Virginia tribute is n jumping in­ mental by pianist Swanerud’s sextet, down from the tenor star, with unusual Gray, tenor, and John Graas, French strumental with good solos by Davis and with Ove Lind on clarinet, Jimmy Nis­ vocal group background supporting his horn) teamed with six Duke men (Stray­ composer-guitarist Jennings Backing, trom on vibes und Rolf Berg on guitar. horn, not quite in the Chris Powell-Geor­ horn, Carney, Tirol. Willie Smith, Clark a brainchild of drummer Chris Columbus, Nice, light, mild modern jazz. (Savoy gie Auld manner. Shy is a Lucky Thomp­ Terry und Wendell Maishall) to produce is a blues which the trio sings wordlessly. 965.) son instrumental with an interesting an interesting array of small band jazz Jennings in his how-blue can-you-get trombone solo by Dickie Harris. Filed items. Eyes and Shadows are Bellson mood is n delight. (Okeh 6913.) Thrloniou« Monk under jazz, this would rate at leant three originals, with a credit to Buddy Baker stars. (Okeh 6912.) as arranger and conductor. Pu>Jein’ and Four In One Mitch’s Lou Donaldson Sticks are by Shorty Rogers, the latter Who Knows Duke Henderson us and **** Roceus "Vice Work a percussion display by Louie, technically ♦ * Lucy Broun mt. Ac- ***** Cheek To Cheek Straight No Chater • of the great but musically pointless. Rainbow *** Country Ciri is an interesting new Tizol piece featur­ Even more impressive than his previous In Walked Bud ish horn release is Donaldson’s exciting perform­ Humph Henderson's a first-rate blues shouter; st liber- ing the composer. Country Girl is just a notch superior as Wardell Gray and Clark Terry share ance on Cheek. With this disc he emer­ Suburban Eyes k. Spot- ges as perhaps the greatest alto man nt lik Me Now material (han « Lucy Brown, thus ths dividual the ad lib spotlight on Jeep. Clark and difference is ratings. ¿mall blues bond Willie assume the old Hodges mantle on the Parker school since Bird himself. Album Rating: **♦ rs, Burt backing is tine and cleaner than most Passion Flower. Horace Silver has a good piano chorus, A good, representative assortment of but you hardly even notice it, because group work in the genre. (Specialty ch with Ensemble work is slightly less than 442.) perfect. In >um this is a good effort you’re busy reflecting on the terrific alto irn into work that has preceded it.
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