ToJay the world is knocking at Jon Hendricks’ door. Less than two sears ago, it was the other way around. Possessed of a remark able talent, Jon paid heavy dues for many years, earning a bare living playing drums, writing unsuccessful songs, and singing when a gig was available. As anyone can tell you who has studied the records of Lambert- Hendricks-Ross (for most of which Jon supplies the words), he is not merely a lyricist but a poet and a philosopher. During the recent Jazz tor Moderns tour, I got to know Jon well and found in him an e tergizing, 200-volt A.C. personality, with strong and often infuriating views on every subject from Fascism and Communism to astrology and numerology. This automatically meant that the records for his first Blindfold Test, instead of being confined to vocals, had to cover as broad a range as possible. His comments were tape-recorded, as are all inter views for this feature, and he was given no information, either before or during the test, about the records played. of th«» ‘Yeah, Ming the Mercifull'
1, Mel Torme with the Mel-Tones. A Bunch of down, because I was stomping my feet What they want to mess with War the Bluet (Verve). Art Pepper, tenor sax; all the way. Four stars. Was it the dell’s tune like that for? I liked it better Jack Sheldon, trumpet. 15, Col. Dukes of Dixieland? the old way, so that spoiled this one for A potpourri of blues—yeah! I heard me. Don’t mess with something good. Sweets’ Centerpiece, I heard Let It Roll 4. Ornette Coleman. Eventually (from The Shape of Jazz To Come,- Atlantic). Cole None of the soloists interested me too —and I don’t know who it was playing much, except that I was wondering saxophone, but that no-bar modulation man, olto; Don Cherry, trumpet. Yeah, this is the cat everybody’s whether that was a valve or a slide was a gas. . . Good trumpet, good trombone. But it was an undistinguished rhythm section, good group. Beautiful. talking about. Ornette Coleman and Don Cherry. And I think they only record and I don’t like the way they I’d like to hear more of this kind of mistreated the tune. Two stars. thing. I don’t know who any of the used a bass and a set of drums, right? For technical skill in getting around people were on the date, but they're 7. Cannonball Adderley Quintet. You Got It good musicians and good singers; they their horns. I’d have to give it five stars, (Riverside). sang in tune . . . four stars. but for singing, melodically, and for Yeah, Ming the Merciful! I was sit putting things together well so that ting in the Workshop in San Francisco 2. Couriers of Jazz (English combo). Stop the they create a beautiful melody, ain’t one Sunday afternoon, listening to them World, I Want to Get Oft (Carlton). Tubby that much happening. So I wouldn't get this together, rehearsing this date. Hayes, vibes. know how to rate it. I'll pass. I don’t Julian, Nat, Bobby Timmons, Lou where Mm, yes, stompin' blues! 1 like that think they’re doing anything entirely Hayes and Sam Jones. Beautiful! Give IC thing they did on the last four bars; new or sensationally different. New, 'em the whole constellation! they kind of had an Oriental feeling maybe, and certainly different; but not WAY there ... I don’t know who that was entirely new and sensationally different. 8. Eddie Jefferson. Now’s The Time (Triumph). U.S.A. on vibes. Sounded like Bags! But I You should be able to get the message Comp. Charlie Porker; vocal, lyrics by Jeffer I BEAT as they play it. not have to wait till son. IS FAST don’t think so . . . and 1 don’t know who any of the other cats were. But it later to figure it out. Yeah, Eddie Jefferson and James IP«. Moody’s band! That was beautiful! I was pretty. Four stars. 5. Nutty Squirrels. Salt Peanuts (Hanover). LABELS like what he said about the way Bird írseos Sascha Burland, Don Elliott, vocal. 3. Dukes of Dixieland. Dorktown Strutters’ lived and the way he died. ... He talks Sascha Burland and Don Elliott. The Ball (from Vol. 1; Audio-Fidelity). Red Haw straight. And Moody’s band is some ley, drums. Hip-Munks! Sascha to me is an unsung thing else. King Pleasure was the first Yeah! That gave a happy feeling! I hero, for what he’s doing to get jazz on one I heard of do this kind of thing heard they had a banjo in there, and a the television behind those ads. on those —set lyrics to instrumentals—and he . . . no bass fiddle, ’cause they had commercials. It’s very interesting that told me about Eddie Jefferson. Then I FREE one of them other horns there, that they pick songs like this; I think it’s a met Eddie. In fact, I think Pleasure big horn instead of the bass fiddle— wonderful thing. I’m sorry they have to said he got the words to Moody's Mood yeah, a tuba. I noticed when the guy do it like that, speed up the tape and for Love from Eddie Jefferson. Four I. Pa. played the drums, he didn’t play the everything, but if it gets out to where stars. old roll like they played in the authen people start hearing it, maybe they tic stomping music, the old-time rag won’t have to do it like that and they time; he played on a cymbal, and that can do it the regular way. ’Cause you AFTERTHOUGHTS BY HENDRICKS •oetry" cymbal had a new sound, sounded like know, they sure can do it—those cats tiers fro"1 one of them brand new Zildjians. And can scat! Running them changes real I would have given five stars to any jazz disc pretty. That’s hard to rate, but just be ! literature that cat on that tuba—that was a mod thing from Kind of Blue by Miles, or ern riff in there; sounded to me like a cause I'm glad it’s out, give it four stars. Jazz Track and 'Round About Midnight bunch of modern cats playing Dixie ille. Te« 6. Swede« from Jazzville. Twitted (Epic). Comp. or Porgy and Bess by Miles. Or any land, but I can't be hip and put it Wardell Gray. Aake Persson, slide trombone. thing by Coltrane.
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