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{I^Yn6 a So.«*1'0 10 V^* Porcino, trumpets; Larry Bunker, drums and the poetry actually is poetry. Only some poems use as their basis some of the con­ sevei.d pia vibes; Tommy Tedesco, guitar: Paul Horn, alto and clarinet. Tracks 2, 6, 8, Bob Dorough, piano; of the music intends to be jazz and, be­ ventions of the blues and folk song back­ say tli.u m; Pena; Billy Bean, guitar; Hardaway; Bunker. cause of a couple of exercises in rather pre­ ground that jazz itself has. seem up tu Track 3: Chico Hamilton, drums; Collette; Jim Hall, guitar; Katz; Carson Smith, bass. Track 9 tentious borrowing from modern classicists Again, one tan only wonder why a music Feldman Gerry Mulligan, piano: Jon Eardley, trumpet; Red by Fred Katz, I would like to think that which has fought so long against a puiely Mitchell, bass; Hamilton. only some of it even intended to be music functional role (as dance and "atmosphere” awat liom Rating: * * Vs but that way lies frustration. The readings music) should be taking on so very func­ admiiaii,,|> I doubt if there is much point in a lot of include ham (Caradine), a fair imitation of tional a role as this. Even if it did work it detail. Dylan I homas (Wright), and some disarm­ would be the words that got the glory, not The Song of Songs (King James Version) ing straight-forwardness (Carmichael). Roy jazz. tert ol the is acted in morning radio style while some Glenn's reading of Philip Whalen's Big Me, I’ll take Bo Diddley or Ray Chai les are hard competently jazz-style playing incongruous­ High Sotig Eor Somebody to the Mulligan for jazz and poetry. (M.W.) phil Wood ly buzzes under it or, with the gain turned record of Piano Blues is wittily, saltily, un- especially. Lambert-Hendricks-Ross-Basie up, between the breathy episodes. Some­ derstandingly, excellently acted. To it and SING ALONG WITH BASIE — Rouktte body seems to have had the idea this is to the three Langston Hughes poems, rather R-52018: Jumpin' At The Woodside; Going To mendahh 1 pretty hot stuff (and from the Bible too.) naively near-sung by Dorough, the jazz Chicago Blues; Tickle-Toe; Let Me See; Every into .1 linn Tub; Shorty George; Rusty Dusty Blues; The The "Canto” set is more varied. Most of alliance has some fxiint because all four King; Swingin' The Blues; L'il Dartin'. has i<> say Personnel: Vocalists Dave Lambert, Jon Hend­ fa Du is a ricks, Annie Ross, with Joe Williams and the Count Basie Orch. Hut I do prettihed V Well, after the fabulous reaction to Sing tinseniiniei A Song Of Basie (ABC Paramount), what lead t<> mi could be more natural than putting Lam­ been a tot bert, Hendricks, and Ross in a studio with Gour. von Basie and his men? The impact of the them so ell original multi-tracking, of course, is gone. But in its place is something etpially valu­ THI RAC able: the impact of hearing these three Black and H voices in their natural state, the way they more Bag; 1 Rag; .Maple swing in a club. the Ivories; First. Hendricks is incredible. His lyrics Dancer; Spa Personnel: here continue to be as bright and unex­ bass and dri pected as they'were on the earlier set. Sec­ ond, Annie Ross is too much. Her wailing Saine stu on Jumpin' At The Woodside; Let Me See, and her final bit on Swingin’ The Blues are brilliant. (She was great as a section; hear frey's Kit it oo® her now as a solo horn!) like Dunce And Dave Lambert, in addition to hold­ tïia’ like Spagln ing up his end in the section, rockets off a ter much fine solo on Let Me See and Swingin' I he piano torn Blues. The bulk of the solo-to-words sing­ Entct I nine ing is done by Hendricks, whose labial dex­ them soul terity is beyond description. ^u®^eT plorable— Only L’il Darlin’, which may be pulled suit dial t out of the album anyway because of a dis­ time. I he flu®10®’ pute with Neal Hefti, is a let down. T he plated we overall effect of the track is fuzzy, perhaps curious ab îro® vie because of the organ in the background, on rags if me^ ’ or perhaps of the very slow pace of the {i^yn6 a tune. Joe Williams adds his voice to the go­ • L* so.«*1'0 ings on in Chicago; Shorty George, and ing. " I his o '-° Rusty Dusty. tening pie floPe’ And the cover portrait of Basie is what I call a cover portrait. Don’t miss this one. (D.C.) FUNKY Harner Bro Charlie Mariano—Jerry Dodgion mental Jam BEAUTIES OF 1918—World Pacific WP1245: 4 After You’ve Gone; When Johnny Comes March­ Busier nd ing Home; Deep River; Till We Meet Again; You; Alber Sorry; St. / K-K-K-Katy; 'Til The Clouds Roll By; Over 10 v^*"' Personnel There; JaDa; Hello, Central Give Me No Man's identified te Land. XP** S^ce Personnel: Mariano, alto (and recorder on Track 3); Jerry Dodgion, alto (and flute on Track 3); Victor Feldman, vibes: Jimmy Rowles, piano; Take a Monty Budwig, bass: Shelly Manne, drums. kind <>f The title and the tunes reveal the propo­ sition. But, of course, titles and tunes don't pressile, tell very much about jazz. prepared I don’t like the kinds of rhythms that saxophoni bounce more than they How and the end and blues of Meet Again, and the opening of Gone (in a kin have them. But Manne and Rowles are far other« ise more than capable musicians and they show couple of it by playing as if they were meant to. mix Am Rowles’s time, and his use of it, and comp­ onici) re; ing are so good and firmly responsive (hear tomei s w him beind Feldman on Johnny for one of Someth 40 • DOWN BEAT.
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