ly in rein. The one dull track is Morello's romp through This Can't Be Love, in ans. Only Evans is heard on piano on long drum solo of tiresome music. which his flowing lines mingle elements this dise, however; Costa concentrates on of Django Reinhardt and Charlie Chris- vibes, which he plays so well that one tian. hesitates to designate it as his second in- CHARLIE BYRD: Blues for Night People strument. There is an interesting contrast SAVOY 12116. LP. $4.98. EDDIE CHAMBLEE AND HIS OR- between Costa at the piano, where he is CHESTRA: Doodlin' fond of making stirring forays into the The unamplified Spanish guitar, plucked EmAnca 36131. LI'. $3.98. lower register, and on the vibes, on in classical style, jazz or entered a year which he' is more apt to be light and so ago on an impressive EmArcy record- The appearance of Eddie Chamblee's Glancing. Ile dances sure-footedly through ing by Bill Harris. Byrd plays the saune unpretentious little jump band serves as this disc while Evans, who shares some instrument in the sanie way, but his per- a reminder that this once prolific species Piano ch irawteristics with Costa, provides formances on this record are a decided has, for the must part, been absorbed and a spare prodding contrast. Unfortunately, advance over those bv Harris. The depths twisted by rock 'n' roll. Chamblee's group the selections-siw tunes from Guys and of Byrd's wreathe resources and his well is more polished and versatile than the Dolls -arc generally kept going too long of melodic invention an strikingly illus- jump band of old, and this disc, the to be sustained by only two soloists. trated in the title select ii of the disc, a band's second, demonstrates its wide three -part suite which takes up one sicle range -covering, aside from its jumping THE EDDIE "LOCKJAW" DAVIS of the LP. For a guitarist to extempo- efforts, a gently conceived Solitde, a COOKBOOK rize at this length accompanied only by strongly woven blues and, in one extreme PltEsrloE 7141. LP. $4.98. bass (Keeter Betts) and drums ( Gus instance, a brief display of what Elvis Johnson) without the slightest letdown Presley might sound like on a saxophone. Well-played examples of some basic jazz in interest is an car- opening display of forms -slow blues, ballad, medium riff, virtuosity. Byrd carries this off with no EDDIE COSTA QUARTET: Guys and Nord faut riff -in swhieh Davis, a sturdy, sense of strain, as he limes out a -prob- Dolls Like Vibes strung -toned tenor saxophonist with an ing series of blues variations compound- Count. 57230. LP. $3.98. urgent attack, tempers leis ferocity to the ed of root ideas and highly sophisticated needs of the moment. Organist Shirley technique. On the other side he plays The Eddie Costa Quartet includes two Scott backs him up with jabbing accent sonie short pieces in a variety of 11101Gls of the most dependably rewarding of the and is particularly impressive in a spirited younger jazz pianists -Costa and Bill Ev- Continued on page 104 Jazz, Pop, Concert Styles, by Arranger Manny Albani the relatively small coterie of mu- turn of mind also provides a lovely and forntaitces fall within the realm of either Or sicians who %erite arrangements for unusual big -band arrangement of Bix mood music e>r light concert music-but jazz recording sessions on a free lance ba- Beiderbecke's piano solo, In a Mist, a very superior brand of both. sis, \I: y Alban) has gradually emerged which Albruee turns into a gentle jazz Finally, :Mani turns to an essentially as an extraordinarily effective writer and tone poem. I lis band swings with ready pop sein on .Sophisticated Lady, in which conductor. About ten years ago he began warmth to iee again on Dorm Beat Jazz eleven of Duke Ellingtmi's songs are per- writing for Charlie Barnet, Count Basic, Concert, a 'miscellaneously organized disc forated by chorus and orchestra. Al- \Voocly Merman, and other bands -after on which 'Puny Scott spins out a blues though this has becoune one of the cli- serving an apprenticeship as a baritone which, after some preliminary low com- cleo s of recording, and usually a gluti- saxophonist in various big hands in the edy, sears to a fervent level, and Paul nous one at that, Alban' has made it a Forties. During Jack Lewis' two -year ten- Horn's flute chirrups through Willow lively and often exciting set by using his ure as jazz a Zs r man at BCA Victor, Weep for Joe. voices, solo and ensemble, ill at variety Albans produced the bulk of the arrange- In The Blues Is Everybody's. Business, of settings, wweilVing them in and out ments for Lewis' recording sessions. Alban has attempted to write an extend- of instruenental passages, snatching a few When Lewis left Victor, Alban) moved ed piece based on the root influence of lines of lyrics here or cavalierly tossing his locus to Coral, wwherr he did similar jazz. It is swell constructed in jazz tennis, them away there ;and, to give the mix- behind -tie- scenes chores 111101 he was but Alban] has run into two of the prin- ture a rich seasoning, adding an occa- given his own recording sessions with a cipal stumbling blocks for jazz writers: a sional strong instrumental solo. This sort topnotch studio band billed as his "Jazz string section and the need to stretch a of inventiveness is not often lavished on Greats." After producing two notable small piece of material too far. The what is usually dismissed as background If Ps with this group and creating one of strings appear in two of thee work's four music; but baying emerged from be- the most valid jazz versions of a Broad- sections and, with their inappropriately hind the scenes, Alban] apparently has way show score, his West Side Story, Al- soft and dainty quality, succeed in damp- no intention of being relegated to the ban] had obviously established a firm ening the properly rugged quality of Al- background again, no ]tatter what he foundation for a recording career. bam's horns. The remaining two sections may be called on to write. Five discs released within the past suffer from stretch -out in the ensemble JonN S. WILSON month display his stature, stressing his writing, which good but brief solos by virtuosity and creative range. They re- Phil \\'oods and Al Cohn cannot entirely MANNY ALBAM AND HIS JAZZ veal his willingness to travel unexplored save. GREATS: Jazz Nein York roads as well as his ability to iieipnn a on Venturing into even deeper water on Dorr 9004. LI'. $4.98. those already well worn. The latter cate- A Gallery of Gershwin, Alban lias writ- gory would fit Jazz New Turk and Al- ten orchestral accompaniments for the DOWN BEAT JAZZ CONCERT bam s contributions to Down Beat Jazz First Modern Piano Quartet ( Dick Marx, DOT 9003. LP. $4.98. Concert. On both dises he is writing Eddie Costa, Hank Jones, Johnny Costa). jazz arrangements for a big -jazz band, Along with Irving Joseph, who scored the MANNY ALBAM: The Blues Is Every- a field in which he excels because he has piano parts, Albain has used a melange body's Business the ability to write in terms that can be of jazz, pop, and concert styles that pro- CORAL 59101. LP. $4.98. translated into a loose., swinging perform- vides a fitting setting for the Gershwin ance as well as the patience to create tutus which the Quartet plays. This is THE FIRST MODERN PIANO QUAR- strong-lined ensembles and sturdy sup- several steps removed front the strongly TET: A Gallery of Gershwin porting frameworks for his soloists. jazz-based writing he employs on the CORAL 59102. LP. $4.98. His Jazz New York consists, in the three disc's mentioned above, for in this main, of refreshingly relaxed, well- filled- case the jazz element enters only when MANNY ALBAM, HIS CHORUS AND out big -band performances which ride on one of the pianists moves out from the ORCHESTRA: Sophisticated Lady a deeply flowing pulse. His exploratory quartet as a soloist. Most of these per- CoiuAL 57231. LP. $3.98. 102 HIGII FIDELITY MAGAZINE www.americanradiohistory.com.