pianist ample time to stretch and de­ Got You Under My Skin with its di­ velop his presentations before consist­ minuendo coda. Garner slid into ballad ently large houses. Opening night some tempo for a languorous and meandering audience restlessness was detectable My Funny Valentine. A quick, flurry ERROLL GARNER after the first 30 minutes of playing; of notes then led to a fast Where or The Crescendo, Hollywood reception on succeeding nights, however, When, which displayed multi Personnel: Garner, piano: Eddie Cal­ became increasingly attentive. rhy thmic character of the trio as a unit. houn. bass: Kelly Martin, drums. Garner's program format remains in­ In all, the pianist explored about a Performing only two shows a night formal. almost casual. He began playing dozen songs, a high point being his during his 10-day stay at this Sunset without comment, immediately convey­ impressionistic Misty. Strip spot, Garner not only demon­ ing a perceptible warmth by his at­ Intermission music was provided by strated the efficacy of departing from titude at the keyboard. He made it the Murray McEachern trio, which the conventional policy of playing 30- instantly clear that he was up there to spotlighted the leader's multi-instru- minute or half-hourly sets but proved have a ball, and listeners could not mental talents. Lou Valturzo doubled also his maturity as an artist. help gomg along with him. accordion and electronic piano, and The two-show policy permitted the After an opening medium-up I've Jerry King held down the drum chair. —John Tynan MODERN JAZZ QUARTET, BEAUX- ARTS STRING QUARTET 64 Page Town Hall, New York City Solos d the star Personnel: Beaux-Arts String quartet WHERE —Gerald Taruck, Alan Martin, violins; Each pa Carl Eberl, viola; Joseph Tekula. cello. cation, book is Modem Jazz Quartet — John Lewis, galore. piano; Milt Jackson, vibes; Percy Heath, bass; Connie Kay, drums. This concert was presented in three sections: the Beaux-Arts playing Hay- dn’s Quartet Opus 74 No. I; the Mod ern Jazz Quartet running through some of its regular repertoire, which included two selections from the Lewis movie score for Odds Against Tomorrow, and finally two premiere presentations ot compositions by Lewis and Gunther Schuller, performed by the two quar­ tets combined. DeFR The third section was the most inter­ esting, although not the most musically stimulating, part of the evening. The first of the two premiere selections was entitled Sketch, and in it Lewis is con­ MODEL 1260—-A Harmony Super Value cerned with integrating traditional forms with extemporaneous performance. at only «6900 As a foreknowledge of things to come, the melding of the strings with the instrumentation of the MJQ. brought forth quite a pleasant swinging sound, although the strings were used spar­ ingly as accents. This work seemed to be in closer relation with jazz than did the Schuller, which followed it It had the melodic and rhythmic content one would expect from Lewis. • The Schuller selection was entitled Conversations and used Ihe strings more as an integral part of the composition Schuller conducted his work and made a valiant effort to fuse the two styles, hut his strings seemed to separate from the MJQ and resolve hack, into the classical idiom. The Modern Jazz Quartet’s solo Transpot pocket s group was received with high enthu­ tion worl Cians, S siasm from the audience. The quartet jus* dial came back for three encores. The num­ A real t i oser do bers played were Django; it Don’t Mean tion, me nished. a Thing; Pyramid; The Caper; Cue No. money c 9, and The Comedy. ■—George Hoefer Box 149 DOWN BEAT.