It may well be that this diminution Cadena With Milt is the Savoy rhythm of individuality is temporary, and that team—Hank Jones, Wendell Marshall, Jutta may eventually forgt her own and Kenny Clarke—one of the best in­ approach But as of now, while it’s trut tegrated sections in the history of re­ her style has become funkier (Billie’s corded jazz. Present also on all but Bounce is the best example on the LPI. Man is the superb, Hawkin—rich but All Jazz rr«'urd>* arr review«*d by Nai he has also become rather rigid, press­ always individualized tenor of Lucky lb ntoff except thotte initialed by Jack ing nearly every song into the same Thompson, who is so good a jazzman Tracy. Rating: Excellent, 6*66 mold with little care for the individual that he transcends period labels. Lucky Very Good. Good. ♦♦ Fair, ♦ pour. character of each, For example, she is a key example of what these reviews may be Mad About the Boy, but why- try to mean when they say a musician Eddie Bert should she attack him? And there is “flows.” (Listen, for example, to thia II oik with Me; I ardboard Coffee; something depressingly mechanical solo track, What’s New). He swings Falling in Lore til Over 4gain; Lorn, about her hardness-without-exuberanct <le<ply; his ideas build logically into Sarahs and Fnaj; I Hear Music; Moon in Ain’t Misbehavin’ and Jeepers Cm it­ satisfying solos; and he communicates and >and; Nosmo King; Jeromes ers. large warmth. Itlues; III V» Life; Me 'n You On several of her records made Milt continues to be the best vibist Rating: abroad, Jutta had a particularly < ngau- in jazz by virtue of his ideas, time, ing touch with ballads. Much of that functional way of playing, and beat. Modem Mood» enlists Eddie, Jerome uniqueness has also been lost. Stock­ He has a chance to blow more free- Richardson, flute and tenor; altoist holm, while attractive, does not flow swinging, up-tempo choruses here than Vinnie Dean; Hank Jones; Barry Gal­ much, and Things again represents in is usual in the current context of the braith; Oscar Pettiford; Osie Johnson. large part a pyrrhic victory of a search MJQ. Jones, Clarke and Marshall have Thi programming is better than on for style over content. Her accompani­ been often lauded here before, but several other recent Jazztone dates with ment is good but as Leonard Feather again, may I suggest you listen closely Bi rt contributing four attractive lines, pointed ><ut recently, this is not nearly to the major jazz voice that Hank one apiece by Milt Gold and Richard­ as integrated, as tri-partite as a ¿upe Jones now ¡Missesses. Very much i ec­ son, Neal Hefti’s gentle Falling (on rior trio can be. Thigpen is fine. Ind ommended. (Savoy 12” LP MG 12070) which Bert is the only horn), and Alec is rather stolid in solo. Feather intro­ Wilder’s rather tamely played Moon duces the record and there are several and Sand. Jazz \\ est Coast, 1 ol. 2 announcements by Miss Hipp. Good Bag of Blue»; Summertime; Topsy; There are superior solos by Bert, sound and a most attractive cover. Easy Living; Line for Lyons; Song of Jones, Galbraith, and Pettiford. Dean (Blui Note 12 IP 1515) the Islands; I Hear Music; Boja igle» s a fluent mainstream modernist, but of Harlem; Contour; It'» Sand, Man is light in impact. Richardson, consider­ (akin Jackson ably more striking emotionally, is apt Baling: to lie not too individual in conception. Stompin' at the Savoy; Dream; You This is a sampler culled from current Balance is not good, with insufficient •¡nd the Night and the Music; The and soon-to-be-released Pacific Jazz presence for the soloists and a not well Touch of Four Lip»; Mine; Linger LPs. The tracks are by Bud Shank defined rhythm section sound due to Awhile; Get Out of Toun quartet, Chet Baker quartet, Chico microphoning that smothers Galbiaith, Ruting: *’2 Hamilton quintet, Bill Perkins quintet, for one thing, in the drums. Gerry Mulligan quartet, Bill Perkins Rave Notice presents pianist Jackson One of the best tracks is Jerome's octet, Hampton Hawes trio, Russ Free­ in the company of vibist Peter Apple­ man quartet, Jack Sheldon quintet, Cy Blues, with everyone fused funkily, yard, bassist Johnny Elwood, and drum­ and Mr. Pettiford coming on with es­ Touff quintet. The Shank and Hamilton mer Howard Reay. Title alludes to the tracks are already out. The Touff is pecial strength, and a movingly relaxed, lavishly indiscriminate press notice» a muted Bert who sounds in part as not on this recent PJ LP, noi is the previous LP by this unit received. This Mulligan on the Paris Concert set and Frankie Newton might have had he is a strong dissent. Jackson obviously switched to trombone. Hank Jones and the rest at presstime had also not yet has swift and powerful technique, but been issued. Galbraith are also an unhurried gas he uses this technique almost invari­ on the track. Osie is steady in the back­ ably to produce hollow, flashy, su if ace It’s a generally impressive anthology ground and Richardson is warm. This effects, His is a kill-the-audience-with- with such highlights as a 1955 French good-sized easy-feeling blues is almost notes-a n d-more-notes-and-then-cuteness recording of Baker that may indicate by itself reason enough to get the LP. approach to music. He lacks taste, and a growth and deepening of his ability ; an excellent Bill Perkins solo backed One of the major virtues in this set, for this listener, his music communi­ cates the feeling of a press agent giving by John Lewis, Jim Hall, Chico Hamil­ incidentally, is that it gives the excel­ ton, and Percy Heath in Easy Living; lent Galbraith more solo time than any his all for a client so long as the fee is paid. Because of this preoccupation and several stimulating aspects to the previous record 1 can recall (Dig his last five tracks which will be commented unpretentious expert skill in All My with hard-selling, Jackson rarely re­ laxes enough to swing. His rhythm is on in more detail when the respective Life, for example). Recommended in albums are released. spite of the imperfect engineering. usually as brittle as his ideas. Society 12" LP J1223) The last track is characteristic of (Jazzton«* Appleyard, although also guilty of the recently-released Touff LP, favor­ too much gratuitous showboating, is ably reviewed here by Jack Tracy when Jutta Hipp somewhat wanner emotionally and more it was issued. The set is a further of his exuberance seems spontaneous lake Me in I our Arms { Dear Old tribute to the value of Dick Bock’s Stockholm; Billie'» Bounce; i’ll Ke- than does Jackson’s. Pulsation-wise, he activities anil the LP as a whole offers member April; Lady Bird; Mad Ibout is no Milt Jackson, but he can move. a more varied program obviously than Elwood and Reay are competent The the Boy; Ain't Misbehavin'j These Fotd- do most 12" packages. Firstrate engi- arrangements are cocktail jazz I still ish Thing»; Jee pm Creeper»; The Moon nee ring throughout. (Jazz West Coast II as Yellow prefer liquor and jazz straight. Not 12 " LP JWC-501, released by Pacific Bating: *** at all recommended. What is particular­ Jazz) ly depressing is that Jackson gives Jutta Hipp at the Hickory House is brief indications here and there that Thad Jones her first made-in-America LP. With he could play meaningfully if he wanted Blue Room; Tarriff; Little Girl Blue; Doctor Van Gelder in attendance, this to. Why does he waste all that knowl­ Scratch; Zee and a second LP were taped in one edge? (Columbia 12" I J* (L 824) Rating: Kltirlr night at the room with Jutta’s regular assistants, drummer Ed Thigpen and Detroit-New York Junction involves bassist Peter Ind. As of this LP, all Milt Jackson formei Detroiters Jones, tenor Billy of the reservations expressed in a May lover; Can't Help Lovin' That Man; Mitchell, guitarist Kenny Burrell and 2 Caught in the Act of Miss Hipp still The lady 1» a Tramp; Angel Face; pianist Tommy Flanagan with drum­ stand. No longer immediately identifi­ Sometime» I'm Happy; What'» New mer Shadow Wilson and bassist Oscar able by her formei linear, lyrical mu­ Pettiford. Thad, potentially one of the sical personality, Jutta sounds here Rating: most creative modern trumpeters, has like a promising eclectic marked most The Jazz Skyline is another major almost no room to stretch during his by Horace Silver. credit for Savoy’s a&r head, Ozzie nightly work with the Basie band, so July 25, IM 36 23.