tincluding 14 strings) cruise joyfully swinging, exuberantly blowing session. through Gershwin, and it is the De- None of the three originals is structur­ (Jumped from Page 17) Franco I think of when I place his ally much on its own (two are by Don­ name in the clarinet slot in Down aldson and one by Hope), but the solo en microphones’). The unpretentious Beat’s annual critics poll. work is brightly stimulating. Altoist originals and loose arrangements are Perhaps it was the stimulus of Peter­ Donaldson, sharply in the Bird tradi­ by former Basie arranger and saxist, son, who has developed into one of the tion, is the most consistently exciting skilled Ernie Wilkins. Coker has rare­ most capable and listenable pianists voice, but there’s also good work fr-'m ly been given this much space on rec­ in all jazz. Perhaps it was the cushion Kenny Dorham and pianist Elmo Hope. ord to blow, and he comes on strong. afforded by the orchestra, which al­ Trombonist Matthew Gee, while emo­ In Inhibitions, Fowlkes has his best lowed Buddy to relax and not worry tionally in context, is less impressive in chorus yet on record. The rhythm sec­ about carrying the entire load himself. terms of musicianship. Art Blakey and tion is an easy swinging gas. Credit At any rate, here is some of the tastiest Percy Heath assure a strongly swing­ Savoy jazz director Ozzie Cadena for a music of this or any other year. ing rhythm section. Program is badly blowing LP that will insure kicks for I Was Doing All Right is the best balanced with no ballad or slow tempo a long, long time. (Savoy LP MG- example of DeFranco’s “new look”—he break of any kind. The set is recom­ 15053) offers a pulsing, penetrating solo; Ben­ mended, but cannot be given a higher ny Goodman’s influence on him is much rating because of the sameness of ma­ Buddy DeFranco-Oscar Peterson in evidence on Strike Up, where he and terial and dynamics all the wav Porgy; f Was Doing All Right; *S Oscar romp joyfully in counterlines be­ through. No notes. (Blur Note LP Wonderful; Be»»; Strike Up the Band; fore Buddy flashes off; Man I Love is 5055) They Can't Take That Away from Me; some more superbly melodic pensive­ The Man ! Love; I Got Rhythm; Some­ ness from Buddy preceding a double­ Scene one to Watch Over Me; It Ain't Neces­ time offering from Pete, with Someone East Coast-West Coast sarily So getting the reverse treatment — Oscar Inside Out; Autumn Leaves; Sere­ nade for Kathy; Cool Sunshine; Loki; onens meditatively, then DeFranco mt I regretfully have had to agree the Elaine's Lullaby kicks it up to comfortable blowing It last couple of years with those persons Rating; **** tempo. Mt who complained that Buddy DeFranco’s Ruddy is at home on this record, and On one side of this 12” LP, Al Cohn magnificent skill and improvisatory I suspect it is going to win him more leads a “Charlie’s Tavern” ensemble sense were dulled by his “cold” sound fans and friends than most of his other (musicians who live and work in the all —that his music was lacking in emo­ discs put together. New York area). On the other, Shorty Nc tion. By me, it’s a gasser. (J.T.) (Nor- Rogers heads a Los Angeles contingent toi I knew it was not always so—I had gran 12* LP MGN-1016) whose members are not identified be­ heard him numerous times with the ge Lou Donaldson, Vol. 2 cause of contractual commitments else­ thi sextet Count Basie headed four years where. The notes give ample hints, how­ After You've Gone; Caracas; The Ar ago, and had heard his clarinet sound ever. My own guesses are: Giuffre, Stroller; Moe'» Bluff Fe like a torch rather than an icicle. Kessel, Rogers, Sims, Enevoldson, Now eomes this LP on which he, Os­ Rating: Counce, Shank, Geller, Bernhart, car Pederson, and a large orchestra This, for the most part, is a free Manne, and Pete Jolly on piano—(to lot be honest, I had to check about him be­ re: cause I’m not familiar with his style). Cohn’s men are Joe Newman, altoists he Hal McKusick and Gene Quill, bari- CLIFFORD BROWN ENSEMBLE (n tonist Sol Schlinger, trombonists Billy Bi Byers and Eddie Bert, and a rhythm pjlp-19 featuring ZOOT SIMS EP 427 an section of Sanford Gold, Billy Bauer, an Milt Hinton, and Osie Johnson, Blow­ on ing by all on both sides is pleasurably Cc relaxed and often exciting. Recorded ra sound is excellent. Back label gives or­ re der of solos, and is inaccurate in places Gi in the west coast listing. Geographical wi irrelevancies aside, this is just fine, in (Victor 12" LP swinging modern jazz. Bl LJM-1020) hf Urbie Green Mutation; On Green Dolphin Street; Just One of Those Things; How Abnut tn You?; When Your Lover Has Gone; NEW RELEASES: Three Little Words; Sneaky Pete; Mel­ ody in Bb; Sassafras; I ore Locked Out GERRY MULLIGAN CALIFORNIA CONCERTS Rating: fil 12" High Fidelity Concert Recording Though he is easily one of the most m PJLP 1201 EP 4 28 brilliant and versatile trombonists in jazz, Urbie Green (for reasons of per­ m sonnel or writing on both) has yet to ai Introducing on PACIFICA RECORDS inci. tax produce an outstanding album under F his own name. The troub'e in this one G KITTY WHITE sings with Corky Hale, Harp is the writing. Marion Evans did all tu the arranging, and though they’re or PL-802 10” LP PE 402 7" EP soundly professional scores, they lack G P< Write for Free Catalogue individual freshness or distinction. Too often the writing is slirk-smooth to the sc point of toothlessness, and no soloist PACIFIC JAZZ ENTR., INC. 7614 Meir,;. U, .Il.llyu.-,I4'>.1 .¡hf on the date is sufficiently able to break G through the restricting paper curtain Down Best.