(With Chick) for Two Terrific Sides!

RECORDS Chicago. February 15. 1940 Chicago tootin’ not only by the liadet but also by Jerry Jerome, and Johnny Waller Dock (With Chick) Guarmeri’s piano—heard here for the first time on records—comple ments the band well. The rhythm section rocki- along right smartly For Two Terrific Sides! in a good groove. Reverse is i>oor, Ziggj s trumpeting carboning his BY BARRELHOUSE DAN old “Bei Mir” style—a style not conducive to kicks. No vocals. The Because Fats Waller year after Unfortui ntely, however, Mr. Han dy, on the first two, occupies most entire band, except for Noni Ber- year remain« one of the moot pro nardi, is out of i.i n p group. lific of the recording artists, he too of the grooves- -vith pretty sad vo often in overlooked by those who cals. Only Madison’s ten->r breaks Mildred Bailey buy the new jau dist* In almoat through for kicks. The latter coup every weekly batch of RCA-Victor ling finds Mr. Handy blowing a trumpet, and badly. Higginbotham releases, one finds a Waller record Hardly fair samples of Miss ing. Among the current ones are gets ,i a solo on each side but hii tone is frightful. Hall’s clarinet is Bailey’s ability, these sides are “Darktown Strutter's Ball'' and “I noteworthy in that she contrasts Hot di Can't Give You Anything But Love," the only bang. Fans who are senti her new “chamber background” accused c two old evergreens that get royal mental will probably enjoy all of music of piano, drums, trumpet, musical v treatment via the Malic n»-thud these, but for those who are more bass clarinet, two clarys, English are calle and which reveal Eugene Sedric to critical, or must watch their dimes horn, bass and guitai with her be a strk'tlj 18-karal. top drawer when making a budget for discs, Mr Handy’s work will go unappre usual “hot band” background. Things i- the side with the new with anyone you care to name, ciated. His singing is as poor us instrumentation, and is unimpres Hawkins included. First side is full his horn work. His horn work, if sive. Reverse, though a pop, is of stabs, the Waller piano. Sedric's it is to be described, sounds like Boogie Mon Pete Johnson much more listenable and spots a tenor and the trumpet of John out-of-tune Henry Busse. record* for Blue Note. Shown here, fine tenor <olo. La Bailey to« «n’t (Bugs! Hamilton soloing after Joimhon rut k<m»u City fare- sound right unless the band behind smartly. Reverse, in slow tempo, well. Max Margulis of Blue “Aerateli My Baek** A her is kicking. Her new “chamber” la all vocal. But the vocal is dis Mama** aad “Tight Lika Note: Johnson: Abe Bul.ir. bans; group makes feeble music. tinctly out of the ordinary, mark Rider,** Varsity 8135*8147. Alfred W. Lion, also of Blue Note, ing a return to American wax for A shame that Jeanne Burns and Uys«es LivingMton guitar. Ellington* Blanton Una Mae Carlisle, colored pianist making alleged ‘‘comeback’ (Photo by Francia J. Wolf). Below a “Fls«k*d Agals.” Culmsbla Hoei and singer, who has been in Eu after four years back to Joe Sullivan. George Wettling mid rope noverai years. Her singing is spoil what might have been a real- Joe Turner, of the Varsity Seven, Thus»- might easily have been u ideal ly bang-up session! arrange How Long Blue, for a test titled “Concerto For Bull Fiddle." ii hoped The Waller band typifies “small On these sides Hawkins, side. The disc* all are reviewed on Jimmy Blanton, 19-yi-a.r-old ex a sort of band” jazz at 'its best. It demon I’olo, Carter. Sullivan, Livingston, this page by Barrelhouse Dan. Fate Marable bassist, duets with opinions. strates that jamming can be done Wettling and Shapiro, a great col the Duke. The theme on both sides artfully, without losing its “extem lection assembled by Warren W. Robinson work. Les has long been it simple, unpretentious blues. One sv poraneous” flavor and surprise riff Scholl and Leonard Feather. The regarded one of the greatest of Duke’s accompaniment to the bast State Br< ing. These s tmples. on Bluebird tunes are old standards. But by alto soloists but was always over is interesting; surely it would (¡wiry O’ 10573, shouldn’t be overlooked devoting a good portion of three shadowed by Artie Shaw’« clarinet. have been wiser to have given him atrocity They show Fat- and his men at sides to vocals—all horrible, af Auld’s tenor bites fiercely and more freedom. Hardly hot jazz but Whoupe J their best. fected and out-of-tune — most of Bob Kitsis adds a few fancy darned interesting, and perhaps it trombone, the spirit was killed. measures of keyboard artistry will strike you as humorous, as it MePartlai Back features Carter’s fine alto. -»lacking of a Hines-Mary Lou did this reviewer. •ounds as can’t be overlooked “Little Jazz” FareweU“ aad ‘Holl*’ Stomp“ Si “You Mama shows Carter on trumpet, Williams cross. The pop tune is Jack Teagarden trying ve Doa t Knoa My Mind “ Blu. Note IO A 12, with Sullivan Taking a good chorus and his big, unwieldy group tackle tently performed; note the lacks bot) Siao lid. both 11 Inohm and Hawk ending it up blowing two great old numbers wnich al love1 sax «ection ensemble and Th» Who The greatest and most musical two straightforward and gutty ready have been recorded by a lend it achieves. The band played be boogie pianist lives up to cxpecta- choruses, among best he’s dozen better outfits. The Eldridge definitely misses Artie but should Tea’s band has come a long waj on Tigt r tions here, appearing ‘tter waxed recently. Tight has more horn skyrockets around wildly, es be able to click without him, judg in the year it has been organized Stomp, bt form on the latter two sides, which good Sullivan piuno, and an ex pecially on Society, but an alto ing by its first discs, and provid it is easil: are strictly solos. First two show cellent Polo interlude Rider start and a tenoi cut through nicely to ing that Georgie’s h.-rn is not fea poor perl Junnson w ith Abe Bolar, bass, and Hawk and Polo. But those vocals! offset the leader’s capers. Roy’s tured too often. A tenor sax- - ATTENTION the Van Ulysse- Livingston, guitar, accom Note how Sullivan, playing behind truirij better Muskrat. especially when played Auld style ORCHESTRA LEADERS certainly panying. Breakdown is fast «nd her doe« his tast to save what he Mundy’s band needs a lot of hard —can be most monotonous. Don’t Baut Your Brains Out, Got Goodman not up to Pete’s par. Farewell, a probably figured was wasted wax rehearsals. Tenor (which doesn’t M. TAKE LIST" slow blues, seeps with sincerity sound like Jimmy himself), clari Ziggy Elman and must stand as a truly great Lionel Hampton net und sol» trumpet all are good Re< performance. Holler is fast, atompy Sunday actually is Buy It Cedi Rag. boogie piano while You Don’t Ensembles both bands Powerful Elman trumpet domi B. ROSEN Know is a ncr -boogie, slow blues Clyde Hart, playing piano nere, ragged and the arrangements nates here. Tootin’ show s potent performance. Utterly non-commer arranged these tunes for Hamp themselves are dull cial, Johnson’s unprovisations are ton. The lineup also includes Jer ome, Mondello, Webster, Elman, breath-taking all the way. This IO» SI U.IV column has icng -ihouted of John Bernstein, Casey and Slick Jones Uhr Thut, son’s prowess. It ii gratifying to on drums. Munson’- label says tete John: Hampton plays vibraharp, but This is the disc which was re DECCA WE SALUTE YOU! hr Slump know he finally is beginning to be leased with Harem Party, which for your courage m issuing this, the greatest jazz album in history An album ROB KITSIS appreciated, and that a firm like those first two piano choruses are JESS STACY turned out to be a semi-longhair whose cover- will protect six records by the most exciting musicians in jazz Blue Note- which deserves patron strictly 2 - finger, machine - gun an hardly be band. Someone made a mistake and today. Musicians who give from the word go, and make no concession to age of all musicians and coilectois pianologics which JOHN GUAM —has the initiative to preserve the charged to Clyde Hart, a great coupled the wrong band with commercialism. We all know that jazz, real jazz, originated in New Orleans Johnson boogieisme in permanent pianist Ziggy's solo is muted and Stacy’s. The one side, though, is and worked its way up the river to the Windy City. Once there, it settled form. hot. Reverse, and it’s a pleasure really good. Billy Butterfield, Jess, down and in this tough, wide open town, it, in our humble opinion, scaled to say so after hearing so many Fazola and Les Jenkins all per ht .ghu never attained befoie or since. ) es, good jazz declined from the year sloppy Hampton discs, reveals form excellently, and even though 1929 on for that was when Joe Public stopped paying to hear it. RENNT CAR it is a pickup group, the ensembles Lionel in his ton form on vibes Still this Chicago jazz did not die. A few musicians continued to cherish ncCYEl.M His improvising it remarkable, and are well-knit and very homoge- it.

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