Chicago, July 15. 1953 Jazz Reviews DOWN BEAT sey; it’s one of those cuts, jumping chords with virtually no rhythm. continue to strike a note of dubious Gamer originals. Clock is a typi­ Wham (not related to the old battle. Here, for instance, Benny cally romantic, 4 a.m., wandering, tune of that name) is a medium Goodman and Jack Teagarden are melodic excursion, hampered a lit­ swinging blues with solos by Hodg­ present in both bands, presumably Jazz Reviews es, Lawrence Brown, and Al fighting themselves. The Rollini tle by the amateur recording but Krc-urd* in thia aeetion are reviewed and rated in terms of their still full of charm. (Blue Note Sears in his best Ben Webster session goes back to 1934, when the mood. A rocking side, building up vibes man was still playing base musical merit. 5016) to an effectively loud climax. (Mer­ sax. They are pretty heavily ar­ Stan Getz cury 89058) ranged, probably by somebody like Count Basie (“something about the entireness ★ Fud Livingston, which leaves too of felines,” says Dave). Paul Des­ Erudition *★★★ Have You Met Miss Janet? Illinois Jacquet little chance for such soloists as tririr Royal Garden Bluet mond is stunning on You Go to Berigan, Teagarden, Goodman, the trb Song of the Itlendt My Head, blending humor, fluidity, A new sound has stolen up be­ ***• Where Are lou? Rollini Brothers, and George Van Tao small combo sides. Royal and feeling into a definitive alto hind Stan’s horn. It’s a valve trom­ hdrk Fat Man Boogie Eps to get going. However, Mr. T. has nice contributions by Joe New­ sax performance. Brubeck on Ram- bone played by one Bob Brook- Illinois Jacquet, His Notes And has a full, fine chorus on Riverboat, man’s trumpet and Quinichette’s bow shows how he never quits meyer, who also designed a com­ His Breath, are distinctly audible and the Davenport arrangement tenor, plus a heavy but effective thinking ahead while he plays. His fortable pattern he calls Erudition. throughout Where, a good pop song gets a fine mood that has not dated semi-shuffle rhythm. Islands is dis­ construction is great. This side has many virtues: odd of some years ago, played agree­ much. appointing, especially as compared percussion effects by Al Levitt, fine As Nat Hen toff’s album notes ably with some nice celeste and The Venuti-Lang session, cut in with Count’s superb original ver­ remind us, “Anyone who has heard work by Stan with his new not-so- piano backgrounds (Sir Charles sion, which featured the big band cool tone, and wonderful continuity 1931, features the violinist and gui­ Desmond and Brubeck improvise on Thompson?). Fat Man, presumably tarist in some happy, early Dixie­ and Lester. On this one Basie plays fugal subjects ... knows the amaz­ of styles between the Brookmeyer an attempt to follow up Jacquet’s organ a la Fata Waller, and Mr. bone and John Williams’ piano. Bill land ensembles with a fine four- ing musical empathy these men success with another BiUy May beat feeling. Lang’s chording be­ Quinichette delivers himself of his possess, and empathy that leads to Crow on bank completes this ex­ composition (Lean Baby), is less poorest recorded solo to date, much cellent quintet. hind Venuti and Teagarden in the frequently startling mutual inspi­ effective. The smeary, glissy mel­ first chorus of Someday shows how of it a full quarter tone sharp. ody is played by Illinois with or­ ration.” Every word of it is true. Miss Jones, though perhaps a far he was ahead of his time. (Mercury 89061) gan background. It’s probably the (Fantasy 3-8) little less erudite, is a swingin’ Benny blows an excellent example more commercial side of the two chick. Interesting combinations of of his earlier style on Farewell; (ajo! and Quiet but it sure isn’t the more musical. Will Bradley long notes and boppish phrases in Venuti swings for the most part (Mercury 89060) Celery Stalk, at Midnight #1 Good for Nothin’ Joe the Brookmeyer solo here. (Mer­ but sounds corny on After. (Bruns* Lasy Ride Penthouse Serenade cury 89059) wick 58039) Turn the Knob on the Left Extrovert Leadbelly to the Right Woody Herman Wow Ella Speed Wally Rose Etude Brutus Yesterdays Perdido On a Christmas Day Rating. Marionette Ingie Speak, Sweet Mary Blue, Red Pepper Rag Cut in the mid-’40s for Signa­ Imagination I’ve Got You Under My Skin Western Plain The Pearls ture, these are both by big bands Boplicity Tell Me, Baby Gladiolus Rag lioriy Refute It composed of New York radio musi­ Backwater Blue, Pineapple Rag und*, Rating: A A A-A A Goin’ Home cians. The Lawson titles were ar­ Take Thit Hammer King Porter Stomp muai This is one of Capitol’s four new Cherry ranged in expanded Dixieland style Goodnight Irene Cascades Rag >,500 Classics in Jazz LPs and the only I Get a Kick out of You by Deane Kincaide, Bob Haggart, Noah Rating: ♦ Easy Winnert Fud Livingston, and Kincaide re­ one devoted to modern jazz. The Frog Legs Rag pitu spectively. Solos are by Joe Bush­ first three titles are by Buddy De­ Rating: AAA A Classics tn Jazz, Capitol calls Mtic, kin and Lou McGarity on Toot, Franco’s quintet, with Jimmy Ran­ Woody’s Best la the debatable these performances. Jazz is a Rating: Prier Buddy Morrow and Jerry Jerome ey and Teddy Charles. Next three title of this interesting LP. The mighty powerful word if it takes Another goodie from Good Time on Rag, Bushkin and Toots Mon­ are Tristano items, with Bauer, eight tunes, never before issued, in everyone from Leadbelly to Al Jazz. Wally Rose, a talented, musi- dello on Stomp. The idea of a big Marsh, and Konitz. were cut during what Woody calls Jolson as jazz singers. Personally, cianly pianist in every sense of the band playing Dixie was novel when Extrovert, best of the DeFranco the “year of infiltration” (1944), as we heard Huddie Ledbetter word, romps through this assort­ Bob Crosby was doing it 17 years sides, is an original by the pianist, i.e. the interim when the older guys singing, talking, and strumming ment joyfully and in evident, two- ng ago, but, as Butch Stone would say, Harvey Leonard. Joe was never were making way for more modem his 12-stringed way through these fisted enjoyment. He gets help from has then was then, baby. previously released. The camara­ stylists, the arrangers (Ralph sides, we observed that though the Turk Murphy’s washboard and Bob the The Bradley sides were waxed derie of Messrs. Konitz and Marsh Bums and Dave Matthews) were substance was sometimes blues, the Short’s bass. iana, after the breakup of his original is as startlingly effective as ever on an Ellington kick, and stars heavy shadow was frequently that King Porter is ripped off spec­ some band, with Dave Tough replacing in Wow, as are the provocative from other bands sat in on record of pre-jazz folk and country mu­ tacularly, The Pearls becomes a Ray McKinley. All four numbers Tristano-Bauer dissonances on Yes­ dates. This, in short, was the pre- sic. Significantly, one of these gem, Cascades is delightful, and •enee were arranged by Billy Maxted. terdays, and the group’s unique First Herd. numbers, Goodnight Irene, became the entire set is more than worth that All, notably Knob, have good work pulling of the strings of Billy According to the fading memo­ a national hit a couple of years the price of admission. (Good Time •-wit by Will, but lack any vital inspira­ Bauer’s Marionette. ries of numerous graybearded spies ago, while another, Western Plain, Jazz L-3) good tional spark. Section for section, Imagination is an unissued Bill we’ve consulted (including Chubby has a repeated phrase that re­ the writing and performance are Harris side, with Bill coughing out Jackson, who was on all eight num­ sembles Cow Cow Boogie. With Ralph Shuron the melody competently, aided by a the exception of Bessie Smith’s expert and clean, but it takes more bers) the credits are aa follows: Spring Song than just cleanliness to get next Pete Rugolo arrangement for five Perdido—Juan Tizol Johnny Hodg­ Backwater, the numbers are all background horns and rhythm. credited to traditional sources. Spring Secret to Godliness in jazz. (Brunswick es, Ben Webster. Ingie (a Dave One Morning in Mey 580.0) Boplicity is one of the famous Matthews original)—Al Mastren, Leadbelly’s plaintive wailing and Miles Davis sides, with the tuba primitive playing endeared him to I’ll Remember April trombone; Webster; Hy White, gui­ A Garden in the Rain Dake Brubeck and french horn that were heard tar. Skin—Webster. Refuse It a cult who worshipped the legend around the world. Miles, Gerry of the violent life he led as much It Might At Well Be Spring Give a Little Whittle (mostly vocal by Woody)—ar­ March Winds and April Shower, Mulligan and John Lewis have ranged by Budd Johnson; Webster as the simplicity of his musical Lady Be Good solos, but it’s the unprecedented methods. Cultism aside, there is Spring Will Be e Little Lete This Tea for Two solo. Goin’ Home—a sad tune with Yeer (in 1949) ensemble sound that vocal by Woody, no other credits. a poignant quality here that fre­ Over the Rainbow makes it. (Capitol H 371) quently counterbalances the lack Rating: kka You Go to My Head Cherry—Budd Johnson, tenor. Kick of a sense of meter.