haunting Gil Evans arrangemen loi Miles Davis . and the dee] re­ spect I have for Ira Gershwin. 1 was fortunate enough to be ' ith By Charles Suber John Tynan when he intervie veti Gershwin (see feature section) There ait so main memories that . the exquisite interpretation of this 1 will never forget. 1 got the come crowding back when the name Jascha Heifetz (yes, Jascha Heifetz) distinct impression that Georgi 'vas (Gershwin is mentioned. Some of my in his Porgy Album lor Decca circa still alive and merely busy in the personal ones are: 1911; he jumped octaves in My other room. It is so obvious that Hearing Ferdie Grofe play the Man’s Gone Now with such delicacy. at 62, is still so attuned to his nine, Rhapsody with Paul Whiteman at In. more recent years, 1 remem­ it is no wonder that he is the only the Br<M)khn Academx ol Music . ber the archness ol too many critics great lyricist other than Oscar ll.im- Walter Gross plaxing George’s show trying to pooh-pooh the Gershwins merstein who continues to produce tunes lor hours at the old 52nd St. as brilliant but unlearned and be­ high calibre work. (Cole Portei and . Levant’s touching words to longing to the surface talent era of Irving Berlin have certainly slipped Mother Gershwin at a Carnegie Hall the 20’s . and the critics (some­ from their peak.) PR! SIDt Tribute: "This is lor you, Mama” times the same one) trying to make What a pleasure to hear Ira ex­ . Ethel Merman shouting / Got more of George than he actually citedly tell of his new book on his Pi m isi until the planes over Lewi- was (he didn’t after all start Xmeri- Rhythm lyrics that is due out in the lull. cm sohn Stadium changed course be­ can music or American opera) . Here is the man who is vitallx in­ cause ot sonic blast. Minnie Guggen­ the fine acting of Leontyne Price; terested in the importance of lyrics. Manag heim couldn't sit still . my finding her picnic scene with Crown was as He studies and understands the se­ euc the three piano preludes when I was exciting an anything I have seen on mantic importance of words. He can Associ 16 . hearing Tod Duncan and the stage . Cab Calloway surpris­ make you understand Porgy yearn­ Nev Ann Brown sing Hess, Is My Young ing everyone except himself as Sport­ ing for Bess and yet still express her GE< Woman. 1 was sure that Tristan and in’ Life ... the Truman Capote New loss because of her own weakness. It Los Isolde had met their match . that Yorker reporting of the American is also so much to his credit that JOI elfin ami sinister grace ol John Bub­ Company in Moscow. Catfish Row continues to stand out High I bles as Sportin’ Life (I’m sorry the Now there is so much more to add as art and not as a negative social CH> emphasis of the role had to be . Ella and Louis singing the defini­ symbol. This always happens when changed from a dancer to a singer) tive understanding title rolls . the talent mixes with truth. COrri s BOS LAS PHII SAN WA MOt TO» STO for the finest sound Prodi'c the top pros play MA Advert Git Circul DAT Execut Selmer 205 Chi< Fini Editor 37C Nei MU 61C Hol HO Advert Che Rid 20* RAY ANTHONY LOUIS ARMSTRONG CHARLIE SPIVAK Chi Ray Anthony Band Louis Armstrong combo Charlie Spivak Orchestra Fini Bra 631 and other top pros, including—SHORTY BAKER, Duke Ellington Los Orchestra; HARRY EDISON, Harry Edison combo; LES ELGART, WE Les & Larry Elgart band; JOHN HOWELL, WGN Orchestra; Me RICHARD MALTBY, Richard Maltby Orchestra; MICKEY MAN­ GANO, Nelson Riddle Orchestra; PHIL NAPOLEON, Phil Napo­ Ge< leon combo; GEORGE ROCK, Spike Jones Orchestra; SHORTY 37( SHEROCK, Nelson Riddle Orchestra; CLARK TERRY, Duke Nei Ellington Orchestra. MU 4 • DOWN BEAT.